Sub Habitat Sessions
As outlined in WORK METHOD, my imagined plan for the work and process in the sessions were: lab-like rehearsals focusing on investigating MODES. Sessions 1-3 were followed by a concert. For the concerts, I outlined a Score map based on the work and discoveries during the rehearsals. Additionally, we also did some free improvising.
My intention with the investigations of MODES was for the musicians/group to be able to explore, internalize and individualize the material. Everybody exploring the same MODE, playing it for a long time (sometimes up to 30 minutes), discussing different approaches, potentials and eventual sub categorizations in a MODE. The exploratory approach and staying in the same MODE material for a considerable period of time also helped the group get to know each other's sound worlds, way of playing and communicating in the interaction. Besides the dialogues related to the MODE material, discussions also included approaches to the material, to improvisation in general and to interplay etc.
MODES: material and interaction explorations examples:
Our work on NOISE in Session 1 led to further refined and subdivided into ethereal noise and noise with friction. In BOWING (tutti) we decided to focus on the variation with slow movements and non-pitch (very light bow pressure). Also applying the NOISE subdivision friction later (heavy bow pressure).
In SUSTAIN, I had a notion of changing surfaces and layers bleeding together - like a big organic, slow moving sound mass. We tried it out with slow dynamic waves (subtle crescendi and decrescendi) in order to make depth in the sound picture as well as changing fore/middle/background.
This approach can be a bit heavy and too solemn though. We discussed and tried another approach: shut on-shut off (no dynamic waves, more frequent shift of sound/pitch. The shut on-shut off can have a tendency to get stiff (which can of course also be a quality). Combined with the subtle dynamic waves the neutral shut on-shut off offers interesting contrasts though.
Likewise, LAYERED PULSE and MACHINE invited numerous approaches. How metronomic/mechanic should it be? How could we introduce irregularities and small interventions?
Some MODES seemed to work better on an individual level: even though our tutti NOISE had worked well in Session 1, it suddenly felt a bit ‘out-dated’ and postulated in Session 2. There are already numerous individual 'noise' sounds represented in the group. Making it a 'thing' for everybody became too intentional and forced. Still good to explore NOISE as tutti though, as it led to fruitful discussions in the group regarding our different backgrounds.
Working with SILENCE (including CELL & SILENCE, SILENT LANDSCAPE) and SILENCING (tutti BOWING among others) gave rise to many interesting discussions and observations. From my side, the concept of silence has been embedded throughout the project. Not as an overarching theme, but as a kind of background companion. My interest in silence is inspired by the Japanese concept of MA as well as a number of Western artists' approaches to void and empty space. I 'practise' perceiving silence as empty space filled with energy and quality. For example in the Listening into practice. We did not 'practise' an explicit MA or other approach to silence, but we addressed and discussed the silences, that occur in some of the MODES. Being aware that there are many silences (with many different qualities), the intensified listening and the attention to the silence, and to the sounds that border the silence. This is of course not a completely unfamiliar approach to listening for musicians who are used to listening with great attention. I see these discussions (often going in more philosophical directions) as an important part of the group work.
Interaction issues we discussed:
- reaction patterns: to what sounds/whom and how do we connect/don't connect in the group?
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the balance between too little and too much (self-)discipline (or give and take dynamics):
For example, the temptation/impulse to participate/involve when others are playing interesting stuff: it may be better to leave the music alone/don't get involved if you're not sure what you can contribute.
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At the other end, the 'politeness syndrome': everyone being too considerate or holding back, which (depending on intentionality) just takes the energy out of the music and can create frustration or mild anxiety/agression (this wasn't a real issue in the group though, but we experienced it a few times. Typically due to sound issues.)
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dynamic levels, listening and set-up issues
SESSION concerts Score maps
As mentioned above, the scores for session concerts were made at the end of rehearsals with less time for the play-through. Except in Session 2 where our concert took place before the rehearsals (logistic reasons).
The scores appear as a simple plan or map of a defined form, based on material we had rehearsed. For the first two concerts, the Score maps were created through juxtapositions of MODES and in a few places combinations of MODES. In between, there would be non-MODE areas as for example open duo/trio constellations. For these scores, I aimed at having several MODES represented in order to see their function in a larger context.
Transitions are either predefined or we find ways collectively during the play-through.
About - Sub Habitat - Modes --- Sessions - Listening - Context and Afterthoughts
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