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This is a remix of my song “No More Sundays” (1997). The original version was created without notation, while it is inspired by the notated compositions of Steve Reich, especially in this case, Proverb (1995). In my variation on the aforementioned work, I composed a text with plenty of vowels sounds, first singing it as a melody, and then as a series of lengthening four-part canons against a repeating two-part piano canon. I played an electronic drum part that recalled Stewart Copeland’s 6/4 backbeat on the Police song “Synchronicity I” (a track that to my ears also sounds inspired by Reich).
For the remix, which does not alter the pitches or tunings (intended and otherwise) themselves, I digitized the original 4-track cassette elements. Tracks 3 and 4 (voices, keyboards/cymbals) copied in reverse, as I transferred them using a standard cassette player which plays two tracks in one direction as side A, and the other two in the opposite direction as side B. I then aligned the reverse tracks against the forward playing tracks 1 and 2 (snare/kick, voices). This resulted in the song’s harmonic and formal structure being layered upon itself in a quasi-palindromic crab canon. It also broke up the syllable structure of the canons. I did some further breaking up and relayering of voices, especially in the introduction which was originally a vocal solo, and here now includes a set of timed echoes (digital canons).
Written and recorded February 1997, Korg 01/WFD, Yamaha 4-track cassette
Cassette transfer and remix December 2017
Music and composer’s notes copyright Bruce Russell 2017
Grateful for so much as my history unfolds in reverse. Summer’s first journey to my birth mother’s home, with a family whom I’m so proud of with me. Upon our return my paternal side manifested. A grandfather in the Jim Crow South. Voice on the line who shared this family’s history of migration to the north, who invited me to holiday gatherings and told me, “You’re not alone in this.” Music and accomplishment has flowed through both sides. My genetically aspirational test results confirming Bahamas, Cuba, Haiti, Jamaica as ancestral places. And out of the sky, my long-failed career as a recording artist is suddenly not quite so failed (recall: history in reverse).
“The Longing” (1987) was my dazed, departing glance at the battleground of adolescence. It was created at the beginning of my studies in electroacoustic composition—my first composition class of any kind—at York University, although not as part of my school work. Even by then, tonality was still a no. Then, as now, I didn’t fit neatly into any one musical box. Enter the DIY cassette: Earthtones, completed over several illicit late night sessions with a mix of school equipment and my own. I had the good fortune of being able to stroll from my dorm room indoors to the studio in the same college. An all-nighter that ended just as my floormates were leaving for their classes allowed for a period of undisturbed rest.
There are four musical lines: a percussive synth phrase on a reel-to-reel tape loop; the same tape loop manipulated and processed, eventually disintegrating in a wash of digital reverb; an improvised synth pad recorded backwards, i.e. the first notes heard were the last played and vice versa; and a piano part which was improvised in response to the retrograde harmonies of the synth.
As with other tracks on Earthtones (“The Longing” being the finale), I composed as I recorded, coasting on the nonrenewable fumes of naïveté. Considering I had taught myself piano and started to play in pop bands only three to four years before, this is a very early snapshot of me self-identifying as a composer.
Recorded November 1987
Four-track cassette, mixed to stereo cassette
Photo: December 25, 1987
Music and composer’s notes copyright Bruce Russell 2017
Audio counterpoint in recognition of two 80th birthday years.
How would the photograph below sound, if the composers were substituted with their music?
Glass Reich 80 12 18
Steve Reich and Musicians: Music for 18 Musicians (1974-1976), Sections VIII, II, IIIA, IIIB, X
The Philip Glass Ensemble: Music in Twelve Parts (1971-1974), Part 1
All of the music heard here is in the key of F-sharp natural minor. By placing them in a chance situation, I’ve introduced an irrational element to two compositions which are each rigorously ordered, and yet the eddying combination of their shared pitches has an eerie, reinforcing, unifying effect. While Twelve is set at a slightly lower output level than 18 relative to the original Nonesuch recordings, there is no other mixing. All tracks are complete, at original pitch and otherwise unaltered.
I do not own the copyright of the works presented here. I am claiming fair use.
Photo credit: The Wall Street Journal