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Découvrez un avant-goût de Passio à travers ce teaser… et préparez-vous à vivre une expérience unique jeudi 2 et vendredi 3 avril à 20h15 au @korzotheater de La Haye pour la première européenne !
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Hâte d’y être… et de vous y retrouver !
Avec :
@dig.la.la Maribeth Diggle – Metteuse en scène, Productrice, Soprano
Lucie de Saint Vincent – Direction musicale, Productrice, Piano, Chant
Joyce J. Scott – Narratrice, Chant Blues
@laila_amezian – Chant Arabe
@tunachance – Viole de gambe, Violon, Kamenj, Chant
@alejopless Borzyk – Saxophone ténor et soprano, Chant
@rajna_music Swaminathan – Mridangam, Chant
@gaia.b.saitta Saitta – Dramaturgie-collaboration artistique
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Improv diary 11-25-24
I'm playing a Christmas concert with a women's vocal group and we rehearsed yesterday. The music included medieval, renaissance and traditional music, most of it arranged for either 3-part SSA or 4-part SSAA, with an occasional two-part piece SA. No chords marked, so I didn't even have the information you'd get from a lead sheet. My job was to integrate viol and renaissance violin in the texture.
Just how authentic should I try to be? Harmonically, well sure, lots of open 5th chords on strong beats, double leading tones; double moving drones (one part sustains, the other changes, adding an additional layer of dissonance to the "away" feeling); melodically, keep it modal, and expand my modal vocabulary to include some non-western modes, like this "extended" Phrygian (flat 2, #3, flat 6, #7); rhythmically, don't wait for a drum to introduce cross-rhythms--remember that there was a fluidity between what we'd call today 3/4 and 6/8.
What I ended up doing with the viol--doubling the bottom line of the SSAA texture, either at the unison or at the octave; creating a Handelian walking bass; holding a sustained drone-like part that moved from dominant to tonic occasionally; adding the double moving drone mentioned above; plucked chordal accompaniment ala lute; low counter melody with occasional double stop; bowed chords and runs. A repeating ostinato bass worked for one piece.
With fiddle--doubling and ornamenting the top line of a SSAA texture; high counter melody; high drones (slower than a counter melody); rhythmic inner part, with off-beats or other active rhythmic figuration; old-time fiddle back-up including double stops, syncopated figuration and connective runs.
When you start with a complete piece and add to it, is that improv? You bet your sweet bippie.
MY WEEKEND
Went to the Music for People workshop this weekend in PA; 16 hours of free improv with about 30 people and two coaches, divided between drum circles and pitched instruments. The coaches call themselves facilitators, not teachers, since the premise is that everyone can improvise naturally. I went looking for some improv fellowship, even though, as we all know, free improv is really different from improv in a particular style.
A few things I found: first, those facilitators really know how to set up an accepting, tension-free atmosphere, and participants loosened up. It was lovely to see people who initially couldn't do more than play a note or two, start responding and participating. Next, it quickly became clear that listening and responding were fundamental; you responded as you could, but there were plenty of ways to do it, including movement and vocals. And then, interestingly, the nature of the response was more interesting than the artistic quality of the response; people who couldn't play well in a technical sense often gave the most personal and heartfelt responses, which made for better musical conversations. I got to talk to a few of the organizers, told them what I was interested in learning and they were curious and welcoming.
And that's where it stopped, sadly. As fun as it was, this wasn't particularly useful to me/us, who are looking to improvise in a particular style. Encouraging people by saying "There are no wrong notes" only gets you so far in our corner of the business.
The gang at Blackbird studios, Nashville this past week. We recorded music for a new video game. The scoring was fascinating, lots of sympathetic strings on the nyckelharpa and viola d'amore, paired with viol and lute, mandolin and 12 string guitar, and whistle and recorder.
What I did on Saturday night. I underlaid the text in the anonymous 5 pt. Je suis d'Allemagne from Howard Mayer Brown's book of French theatrical chansons.
