On Musical Stasis And Directionality

In some of my favorite musics there’s a tension between a sense of stasis and directionality. Stasis describes a music that “stays in one place” through repetition of one sort or another, while directionality describes a music that “goes somewhere”, usually through melody and harmony. A vamp or a repeating breakbeat is an example of a staying in place through repetition, while a I-IV-V chord progression is an example of going somewhere through pitched changed. I’m using quotation marks to describe stasis and directionality because music never stays in place or goes anywhere—except in our imaginations and insofar as sound is oscillation over time. And different musics unfold by different means. Sometimes rhythmic variation creates a sense of going somewhere, while static harmony enacts stasis.

The other day I looped a few measures from a track and tried making a new something out this shard of music. You could say I was remixing a musical moment. I muted a few parts and highlighted some others to create a texture with space. I liked the loop, so I copied it three times to make room for some small variations. But after listening for a while and then returning to the original track to see where such a loop might fit in, I realized that its stasis had no place in my music’s directionality. On its own the loop was cool, but it lacked a broader musical purpose: it felt like an ad hoc, playing around with carefully crafted elements (which it probably was), or surfing upon a laboriously generated wave (which it definitely was). Perhaps someone with more inclination, imagination, and skill would derive more interesting loops from my track, but at the moment I’m not feeling it.

Writing about it now, examples of stasis and directionality in the musics that have influenced me come to mind. Here are a few.  

I thought about the sound of Indian classical music, where you hear the stasis of a drone backdrop and a single raga through which the melodic soloist weaves directional melodies that take you on a journey of moods and intensities: 

I thought about West African drumming, where you here the stasis of the repeating bell timeline and interlocking drum parts through which the master (lead) drummer weaves rhythmic patterns and directional phrases that highlight and syncopate against composite rhythms inherent in the ensemble: 

I thought about ambient music where melodies and harmonies happen, but they don’t go anywhere far, because they repeat and/or because they make use of a very limited palette of pitches: 

I thought about four-on-the-floor music that extracts subtle directionality from deep rhythmic stasis: 

I thought about electronic music so layered with micro-change that the boundaries between stasis and directionality are dissolved: 

And I thought about music that keeps its rhythmic element static while surging towards a harmonic end goal, one semitone at a time:

Maybe that’s what I’m getting at: a music that finds a balance between being in its moment and heading towards its end goal.

Notes On Working In Layers

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“Artworks are devices for engineering attention.” – Susan Tallman

Insofar as I take inspiration from artists who don’t work with sound, in 2019 I took a lot of inspiration from Vija Celmins, who I first heard about via a (yet another excellent) Calvin Tomkins New Yorker profile. Celmins is celebrated for her meticulous paintings and drawings of night skies and oceans. What struck me was her process: how she takes photos of the ocean, then meticulously draws or paints a facsimile of it. Crucial to her workflow is that she draws the photo not all at once, but in many, many layers. Each “pass” involves a different pencil or a different technique (smudging yesterday’s lines, for example), and she repeats this working in passes process many times until the work radiates its own energy and looks halfway between a photo and a drawing. 

Tomkins suggests that what makes Celmins’ “images so alive is the consummate craftsmanship that goes into them—the hand, which knows things that the mind does not…If you spend enough time on a work, something else might come into play.” Similarly, critic Susan Tallman explains the basis of this craftsmanship: “Up close, you see that every swell, curl, and cranny has been given its individual due. There are no schematic waves, nothing is generalized, and no part is prioritized over any other…These drawings are astonishing feats of attentiveness.”

What I learned from Celmins’ work was the idea of working on music production in layers. I suppose I had been doing this anyway, but thinking about her pencil drawings helped me reframe how I was using effects in my own work. I found myself shaping a sound using one effect (e.g. a reverb), and then returning to the sound the next day to re-shape it using another effect (e.g. a different reverb). For some sounds, such as drum and percussion sounds I did this for weeks and sometimes months at a time. It began because I didn’t know what I was looking for, knowing only that what I was hearing was not it, so I tinkered with the sound. A drum sound would get a big compression or EQ sheen and for the moment it was improved from what it was. But then I would repeat the process later in the week, fiddling with what I thought I was “done” with. For a long time, nothing I did sounded good for me and so the only way forward was to keep altering the sounds. After a while I noticed I was doing this to almost every sound I was working with. 

It wasn’t until I read the article on Celmins that it occurred to me that working in layers makes sense for many reasons. First, it’s a way to try out one thing at a time without going too astray if it doesn’t work out. Trying say, one process per day is a do-able thing that keeps me focused. Second, it’s a way to pace yourself, knowing that there’s no way a piece could be finished in a day or a week anyway, so why not space out your tinkering? Third, it’s a way to let a process carry you through to a resultant sound. For example, as I applied a reverb to a drum sound, it might only sound good on a few hits here and there, so I would leave it at that. During the next pass the next day I might apply something else to the sound. Fourth, working in layers to some degree takes the notion of talent out of the equation and replaces it with the discipline of holding one’s attention over time. Instead of thinking about production skills, I now think about productive attention. Finally, working in layers gradually transformed my sounds in ways I could never have predicted had I not worked in this slow and additive way. After ten or twenty layers of processing, a sound can morph into something altogether new. 

Perhaps the most important aspect of working in layers though, is that it reminds you that making things takes a lot of time. When you give yourself time, you have space to attend to details within details—as or Tallman says, giving each element of the work “its individual due.” Based on my own experience, the energy of your work is directly proportional to the energy you put into it over time, compressing and distilling all the adding and subtracting in layers that went into its making. My favorite musics are not off the cuff improvisations, but records of a level of detail that I’m now convinced took the producer many, many long hours of attentive attending to incorporate into their being.    

Musical Logics

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Musical logic is reasoning by other means—
not knowing the key
but feeling the mode
not counting beats
but feeling the pulse
not planning the form
but keeping it open
not according to plan
but making it up on your way.

Music is the pleasure the human mind
experiences from counting
without being aware that it is counting. (Gottfried Leibniz)