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Quarks are components of sub-atomic particles. They combine together, bounce off each other and generally quark around at microscopic levels, and their quarking forms the basis of how we exist and everything we know in the world. Also: Their names make good song titles. I was first introduced to quarks in 1996 by esteemed quarkologist Courtney Lake. Ms. Lake told me that there are six kinds (or "flavours") of quarks, and each can be identified by its unique energy mass and electrical charges and a whole lot of other criteria that us non-quarkologists could never understand. I did, however, take a liking to the names right away, and I vowed to find a good use for them. Somehow. The names of each of the quarks have obvious emotional -- and, therefore, tonal and melodic -- connotations, but I thought when composing the suite that it would be interesting to connect each section in a more theoretical way as well. I found the inspiration for this in the mathematical layers of Bach's Goldberg Variations -- a piece consisting of an aria, 30 variations, and a recapitulation of the aria. Bach linked the variations to the aria and to one another through a complex sonic circuitry. I thought that was pretty fucking cool, so I decided to link the six quark soundscapes by scale tones and chord voicings. Here's how it works: The first quark, "Up," is grounded in the C major chord. Now, the C major scale contains eight notes: C, D, E, F, G, A, B and the octave C. I decided, therefore, to base the second quark, "Down," in the second note of the C major scale, which is (of course) D. But to link the parts further, I based "Down" in Dsus2 -- a chord using the second note of the D major scale (E). For "Charmed," quark number three, the base chord is F# minor -- since a minor chord is, really, a minor third. The quarks continue in this tonal and chordal pattern until "Beauty." This sixth and final quark should be based on a D#6 chord, but E6 and Em6 are a whole lot more fun to play. Concepts are all well and good, but it's still gotta rock, y'know? In other words: But the (for lack of better terminology) "chord signature" of each quark was merely a foundation. The music iteself emerged from Betty, Dov and me jamming on riffs around each chord. The first two thirds of "Beauty," in fact, appears on The six flavours of quarks almost exactly as it emerged from our hearts, minds and hands the day we wrote it. Conceiving, composing, recording and performing The six flavours of quarks was a difficult and rewarding experience. I often regret that we didn't spend more time on it; some parts seem not-fully-realized to me. Then again, maybe music like this can never be FULLY realized. Or maybe we took it as far as we could, and now it's up to someone else to run with the idea. If anyone sees the ghost of J.S. Bach, perhaps they could mention it to him. Love and rockets, |
