Best of 2018

Brandon Coleman Resistance

Tigran Hamasyan For Gyumri

Zaki Ibrahim The Secret Life of Planets

The Internet Hive Mind

JACK Quartet Everything That Rises (John Luther Adams)

Kuniko Drumming (Steve Reich)

Kukuruz Quartet Julius Eastman Piano Interpretations

Kendrick Lamar/Various Artists Black Panther: The Album

Kelly Moran Ultraviolet

Georgia Anne Muldrow Overload

Steve Reich/International Contemporary Ensemble/Colin Currie Group Pulse/Quartet

Esperanza Spalding 12 Little Spells

Kali Uchis Isolation

Kamasi Washington Heaven and Earth

Tierra Whack Whack World

Aretha Franklin The Atlantic Singles Collection 1967-1970

1993+25: The Turret

The Turret (1993) was commissioned by choreographer Dave Wilson for a dance solo performed by Viv Moore. It uses a non-equal temperament tuning. It was quickly sketched and left in raw form; however, I had been developing my palette and techniques on the M1 for several years by this point. I titled it for the recessed area where I would compose in the apartment I lived in at the time. 

Composed and recorded February 1993, Korg M1

Photo: Ancient Theatre of Fourvière, Lyon

Music and composer’s notes copyright Bruce A. Russell 2018

1998+20: in a name

in a name (1998) mixes naïveté and rigour; it was one of my earliest pieces where this was an intentional approach, at least. It is based on a musical cipher of the name of the recipient in a gift exchange. A three-note cell of B – E – A is derived from this, generating all the melodic and harmonic content for the piece by forming hexachords with other three-note cells that are parallel with the first: G-sharp – C-sharp – F-sharp; G – C – F and D – G – C, resulting in the keys of E major, A minor and G major respectively. As an example, a two-voice canon on the notes G-sharp – C-sharp – F-sharp – B – E – A is heard near the beginning, immediately after which it becomes the accompaniment to the repeating melodic pattern of the cipher.

The focus is always on one group of six notes or another, voiced predominantly in symmetrical patterns of fourths, fifths and sevenths and seconds, sometimes stacked, sometimes nested. The main three-note cell remains a constant. The overall structure is symmetrical.

This recording features a digital approximation of a just intonation tuning of the piano, while the score specifies the option of performing in this tuning or in equal temperament. The piece was also heard as part of the musical program (which also included my piece for solo kalimba For Findley, also 1998) for an evening-length improv by Dave Wilson’s Dream Dancers, at Dancemakers in October 1999.

Composed and recorded January 1998, Korg 01WFD

Photo: impromptu dinosaur by Kenza Russell, age 4

Music and composer’s notes copyright Bruce A. Russell 2018