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5 Questions Afro-Caribbean Classical Composers Dance Experimental I Care If You Listen Interview Journalism Media Music Journalism Percussion Performers Postclassical Vocal

5 Questions to Anaïs Maviel

My interview for I Care If You Listen.

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Afro-Caribbean Electronic Funk Hip Hop Mixtapes R&B Vocal

Twenty Tens

As a farewell to the decade when music collections and manual selection became niche, here’s an old-fashioned segue mix.

Ìfé | Bangah (Pico y Palo)

Georgia Anne Muldrow | Overload

Ibeyi | River

D’Angelo and The Vanguard | Really Love

King | Red Eye

Thundercat | Them Changes

Erykah Badu | Gone Baby, Don’t Be Long

Childish Gambino | Boogieman

The Internet | Wanna Be

Esperanza Spalding | Touch in Mine

Snarky Puppy with Lalah Hathaway | Something

Solange | Junie

Shafiq Husayn feat. Jimetta Rose & Fatima | May I Assume

Flying Lotus feat. Kendrick Lamar | Never Catch Me

Brandon Coleman feat. Patrice Quinn & Techdizzle | Giant Feelings

Anderson .Paak | King James

Kamasi Washington | Show Us the Way

Kaytranada feat. Little Dragon | Bullets

Laura Mvula | Phenomenal Woman

Moses Sumney | Self-Help Tape

Ibrahim El Mahboob

December 2019

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Anniversary Archive Compositions Dance Electronic Experimental Memoir Postclassical Theatre Toronto Vocal

1997+20: WhISH

Below are excerpts from the thirty-minute score for WhISH, an interdisciplinary fairy tale performed by Liminal Gryphon Theatre (director Derek Mohamed, choreographer Tracy Renee Stafford). WhISH premiered in February 1997 as part of the Rhubarb! Festival at Buddies in Bad Times in Toronto. The score was also released on cassette.

WhISH was an image and movement based work; there was no text, spoken or otherwise. It was suggested that I write melodic motifs for the characters appearing onstage. The closest I came to this was a set of contrapuntal, rhythmically interchangeable melodic patterns, with a different mode for each character. Quite often only fragments of these patterns are heard.

“Storm” was the accompaniment to an ensemble dance, and is of a piece with my lo-fi, distorted MIDI 90s work. The double-layer canons—one high, one low and also in canon with each other—are also found in my Two Dances for Two Pianos (1996) and string quartet Madra (1999). Here this material is heard in a just intonation tuning.

The time signature is a slow 3/2. There are two kick drum parts; one heartbeat-like, one with low bass notes doubling accents in the canons. The echo/reverb effects and lazy beat are inspired by dub and trip hop.

In “Fight,” the counterpoint reaches a dense, repetitive peak, fuelled by prominent electronic beats and distorted synth wails. The time signature changes between 4/4, 5/4 and 6/4 (3/2).

“Voices,” is the finale music. This is a short, cloudlike piece, scored for workstation and multiple voices overdubbed, and uses the same just intonation tuning as above. It passes through a series of dominant-like harmonies by gradually expanding the register of the voices, while the bassline moves generally by leaps; with a bit of tritone-itis toward the peak. The tuning would ideally involve a properly workshopped, practice-based acoustic ensemble and chorus.

Composed and recorded January 1997
Korg 01/WFD and Yahama cassette 4-track (for “Voices”)

Photo: detail from cassette cover, drawing by Carsten Knox

Music and composer’s notes copyright Bruce A. Russell 2017