0:00- 2:10 Developed a vocabulary of signs and gestures to indicate certain things that don't exist in traditional conducting and in improvisations. This idea dates back to the 1500s or before ... Frank Zappa , Charles Moffet, Leonard Bernstein Four improvisations for Orchestra Alan Silver, Doudou N'Diaye Rose Edav Rose, Lucus Rose . Didn't want to be limit ideas to stylistic category and working with musicians that want to explore the unknown
2:10 Charles Moffett on notation. ' I show musicians how to interpret symbolism, what they do with it is up to them, but basically they are embellishing this information or elaborating or variating or inverting. They're not improvising a development, they are taking something very specific and developing it. Develop this idea is not a free improvisations
4:00 YIELD p.58 (pay attention... shows information) and shows REPEAT p.80 Left hand in a U shape
4:22 DEVELOP-RECONSTRUCT p.113
4:39 CHANGE IN TONALITY p.104 REAL TIME DYNAMICS p.66
4:49 DEVELOP p.113
5:01 RECONSTRUCT p.113
5:05 CHANGE IN TONALITY p.104
5:17 REAL TIME DYNAMICS p.66
5:21 DEVELOP p.113
5:23 REAL TIME DYNAMICS p.66
5:27 RECONSTRUCT p.113
5:28 WAVES BATON "Come on..'
5:31DEVELOP p.113
5:32 REAL TIME DYNAMICS using two hands p.66
5:34:RECONSTRUCT p.113
5:36 CHANGE IN TONALITY p.104
5:50 REAL TIME DYNAMICS?? (can't see hands here) p.66
6:14 ALL STOP P.62
6:23 All sonic information is information for construction
6:35 paper shaking
6:38 REPEAT p.80 and IMITATE (pointing at the paper and says ' do that' )
6:46 DOWNBEAT ACTIVATE .57
6:46 REPEAT p.80
x5 DOWNBEAT ACTIVATE .57
6:54 'with me'
x7 DOWNBEAT ACTIVATE .57
7:04 ALL STOP P.62
[A bit like a sampling sound and playing back on a sequencer]
'Whether they can literally make this sound or not in their creative mind they can go in
the direction of that sound and that is good enough for me...from their you can construct
'...in their creative mind they can go in the direction of that sound and that is good enough for me ... they can find it. He used the back of his bow, she was bowing above her bridge, she was doing double stops...that sound is close enough for me and from their you can construct...
7:36 Glissando ?
7:44 places hand out ?
repetition?
7:53 DEVELOP p.113
7:59 DEVELOP FURTHER ? p.113
8:07 Glissando ?
8:16 ALL STOP P.62
All the information that the strings are playing came from [her] ... so it's an ensemble
playing solo information so you all have to listen to the source... when I tell them to repeat
something I am also telling them to listen to what is being played 'cos you can't play it until you
hear it ...so when I say repeat this (signed) you have to hear it ... you try to come as close to this sensitivity as possible
9:05 On Pitch...' I'm not expecting perfect pitch ... I want you to add to it .. I want you to give something to the ensemble
9:31 speech is not part of performance
9:47 What is the difference of a rehearsal and conduction?
We make music ... what I am doing is showing them as much as I can about what (signs) means
I'd have to build them up to speed so that if I go like (sign) they are looking at me
You have to build trust.. we don't rehearse what we are going to perform.. I just show them what
the possibilities are...
11:19 on 'Training' ... on having 10 PHDs in the ensemble ..
this is symbolic of notation like writing is symbolic of speech .. the more they become comfortable with this the better the ensemble sounds and the higher the level of music and
the more joy we music can make
At the beginning it's tense... all these little games .. at the end you have to produce
'I mine music and sonic information and refine it in a way that is perticular to this constallation of musicians are. I work to find as many interpretations of one idea and possible and I look to the musicians to give me ideas. There is a process of construction and this construction can move and turn in many ways at any given time based on any one in the ensembles.. as I am leading the ensemble I have a choice and the musicians have a choice which is a very important to the direction of the art.
1:40 MEMORY 1
As a composer I use signs and gestures to ellaborate and interpret notation but as this idea progressed I realised I could elimate notation all together and arrive at a real time mentality to find and express many directions that did not exist in notation or improvisation.
The traditional response to conduction ...
Working with different ensembles in different stylistic fields ... I needed to take the music and
shape it in real time
4:06 GRAPHIC INFORMATION/LITERAL MOVEMENT P.128 - do what the stick says
4:08 DISCRETIONARY SUSTAIN P.72
4:10 NEXT DIRECTIVE DYNAMICS P67STRONGER - MORE
4:12 DEVELOP OR GO ON
[AFTER ELIMATING NOTATION FROM THE PROCESS]
... signs and gestures that made reference to music but didn't need to be
specific like notation. I didn't need to cover the same ground as improvision
had to offer. But I had to create order and organisation with signs and gestures that
could represent notation and improvision.
Take the kind of symbolism that lives in notation and apply it to a real time activitY
and take things from the Black American experience like jazz and blues and R&B
and to find the heat and to find the spontaniety and to find the momentum that didn't
necessarily exist in notation and to create between the two of them something that could afford
me the possbility to find my own expression
5:34 GRAPHIC INFORMATION/LITERAL MOVEMENT P.128 - do what the stick says
5:35 STRONGER - MORE
4:38 DISCRETIONARY SUSTAIN P.72
5:40 DEVELOP p.113
... also exploring the way musicians would interpret sounds and gestures
...I don't know what I'm going to hear when i give a downbeat with a sign I have no
idea what i'm going to hear but as soon as I hear it it's like popping clay down on the
desk ... have the skill to mould this or scult this into a work of art
Real time development is a very important idea , skill very important to the audience,
musicians and audience
Conduction is a unversal vocalubary. Music is the langauge. I am in the business of making music and the tools of my trade and this vocabulary has functions on it's own and with the notation
... how the individual interpret's the conduction vocabulary and how they advance the
collective knowlegde that we gain,
4:53 HOLDS THROAT? WHISPER P.68
PANORAMA FRAGMENT/EXCERPT p.126
Says 'whisper... you speak out'
4:58 PEDESTRIAN/BECKONS .. COME P59
5:22 FLICKS THE BATON TOWARD THE ENSEMBLE
5:23 PANORAMA FRAGMENT/EXCERPT p.126
5:30 GESTURE UNKNOWN
5:31 FLICKS THE BATON TOWARD THE ENSEMBLE
5:39 WHISPER/HOLDS THROAT P68
5:40 REAL TIME DYNAMICS
9:58 ON MEMORY