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.
urfunk etude was premiered in February 1997. It presents two separate ideas simultaneously: two-part ostinato canons for solo piano, and harmonic progressions in a 5-limit, just intonation tuning. The piece may also be performed in 12-tone equal temperament with no special tuning. Some of the melodic patterns here were adapted for my string quartet Madra (1999). #microminimalism #PianoDay2017
Composed and recorded January 1997, Korg 01/WFD
Music and composer’s notes copyright Bruce Russell 2017
“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 they are 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.
Composed and recorded January 1997, Korg 01/WFD
Photo: detail from cassette cover, drawing by Carsten Knox
Music and composer’s notes copyright Bruce A. Russell 2017
“Coupling” (1996) is a section from the score to Woo: Cases of Bloodletting and Natural Selection, a multimedia work by Liminal Zoo Theatre (Derek Mohamed and Tracy Renee Stafford, co-creators). It was heard as a live mix and provided the accompaniment to silent onstage action as well as prerecorded spoken word passages. It is a drone collage, restored here using three elements from the original version: a digital track created on the Korg 01W/FD with a custom just intonation tuning; portions of an older theatre score, “The Monster” (1992), for 4-track cassette and Yahama DX-27; and various excerpts or loops from other pieces of mine that were added in performance.
The original “Coupling” ran 30 minutes in performance; I have removed 10 minutes for this edition. The piece begins with a slow canon in G and from the two minute mark onward remains fixed on D. While the drone root does not change, many different upper pitches, sound colours, textures and moods are encountered along the way.
Composed July 1996
Restoration December 2016
Equipment: Tascam Portastudio cassette 4-track, sound sources Roland S-50 sampler and Sony home CD player with loop function, across several generations of tape and Yamaha DX-27 synthesizer, Roland reverb;
Photo: detail from NOW Magazine, August 1996, newsprint, low res scan December 2016
Music and composer’s notes copyright Bruce A. Russell 2016
Absurdist techno funk. A version of this song appeared on my cassette album Eccentricities (1990). Days before making the recording I’d had my first encounter with a Roland TR-808 drum machine, and spent hours learning how to program it (considering this was before internet).
The time signature is 4/4 parallel with 12/8. To achieve this, I created a grid of 24 sixteenths, which was a bit of a slog considering the front panel of the 808 only has 16 buttons. The effect is not unlike the programmed rhythmic patterns in new jack swing, a genre which was popular at the time. The resulting beat here is quirky, however, with a march-like snare dominating towards the end. There is a Reichian finale with multiple pianos and voices in a phasing soup.
Eccentricities was a project done in my student years, though not a part of my sanctioned studies. I was leaving my “no-perfectionism” period, wanting my music to be more precise. The vocal and pitched instrumental parts are in the Lydian dominant mode in E-flat, with bluesy colourations. The original vocal lines have been substantially edited out or shuffled here. I will note the lyrics had an environmentalist theme. With that in mind, the title is evermore sardonic.
Note : Extreme nerds may enjoy knowing that I sampled the orchestral stab used on this track from the opening of the John Williams score to “Close Encounters of the Third Kind.” The source recording was a cassette dub of a worn vinyl LP.
Composed, recorded and mixed July 1990
Analog 8-track 1/2 inch reel-to-reel tape, mixed to DAT
Instrumentation: Roland TR-808 (programmed), Roland S-50 (played manually)
Re-edited December 2015
Music and composer’s notes copyright Bruce A. Russell 2015
A recurring introspective retrospective of my music as it sounded twenty years earlier. In early 1994, I took my first trip to Europe, spending a week in Lyon where my music was heard at a university dance festival as well as in the subway for a pop up freestyle contemporary dance event. I spent the latter part of the year working on the indie cassette release Uhuru, which would come out the following spring, and playing keyboards and percussion in a post-punk band. In early 1995, another dance score was heard in London. In late 1995, I began graduate studies at York University, returning nine years after I had first arrived as an undergraduate.
Throughout this period, I continued to hold down a full time retail job selling classical and jazz CDs in Yorkville, as well as freelancing as a composer for dance and theatre. I also got my first taste of hosting college radio. It was my most active period being involved in music in general.
November 1994 rec. February 1995. 8 voices (2 per part), 8 track reel-to-reel. Begins with a row on the seven pitches of the diatonic scale. The pronunciation of uhuru was conflated with “yoo hoo” although I now prefer the proper initial “u” sound. This is life before autotune, for better or worse. Photo: handwritten score excerpt, 1995
Music and composer’s notes copyright Bruce A. Russell 2014
This piece was composed and recorded when I was a student at York University, most likely a partial result of attending the late James Tenney’s course on the music of Charles Ives and hearing the latter composer’s Three Quarter-Tone Pieces. Although I took the time to prepare a neat modular score (see below), my involvement with the piece was minor – it wasn’t submitted for coursework or student performances. It was a study, just that, albeit one less concerned with exploring the possibilities of the quarter-tone pitch universe than with superimposing that tonality on the minimalist aesthetic.
It is scored for two pianos tuned a quarter tone apart (like the Ives) and four-part chorus; where the soprano and alto tune a quarter tone higher than standard along with piano 2; and bass, tenor and piano 1 remain in standard pitch. Each harmony sounds for 77 eighth notes (quavers), with the chorus singing drones and the pianos playing two different rhythmic loops of 11 and 7 respectively. I played the piano parts on the Roland S-50 sampler which had one of the first decent digital piano sounds.
Quarter-Tone Study was also my contribution to “annoying phone greetings” history: recorded onto my answering machine tape as an outgoing message, it sealed my reputation as a creepy student composer – at least with the administrative staff at the university. The fact that I sang all the vocal parts no doubt helped. I later included the piece on my cassette album “Eccentricities.”
Composed and recorded on half-inch, 8-track analog tape April 1990, mixed to DAT August 1990
All parts performed live. No sampling, metronome, programming or computer editing used at any point.
Music and composer’s notes copyright Bruce Russell 2013