Larger in the Past

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).

1987+30: The Longing

“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

Glass Reich 80 12 18

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

simultaneously with

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

1996+21: limina

limina, for two pianos and percussion (1996), was created as an exploratory diversion between larger projects. The title, “threshold,” could suggest a point of transition or place between categories, although in retrospect the style and sound of the piece are clear. It is in the same extended musical family as Two Dances for Two Pianos, urfunk etudeMadra and Word from Earth. It ends on the same chord as it began, transposed down a semitone.

Composed and recorded August 1996, Korg 01/WFD
Remixed May 2017

Music and composer’s notes copyright Bruce Russell 2017

1997+20: Storm + Voices

“Storm” is an excerpt from the 30-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. “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 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.

(Edit – February 21, 2018)

“Voices” is the finale music from WhISH. It 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 (on “Voices”)

Photo: detail from cassette cover, drawing by Carsten Knox

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

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