What is this?
A music experiment that is more art project than science project.
It’s part of a vision to create an environment for creative empowerment through live musical performance. The concept is based on being present and “playing” music with a minimal amount of preparation.
The aim is to discover the power of music as a play form. Exploring the present unknowns by utilizing a light amount of musical theory combined with improvisation. With the intent of being open and vulnerable.
In my own musical journey I’ve experienced a raw emotional energy that can bring a potency to a space. What’s interesting is that it’s not always intentional and the idea of being structurally a little loose with the musical form can feel a little dangerous. I love the setup that calls in the notion of discovering something for the first time with a community of folks. Also, i’m intrigued by how music can bring awareness to the healing potential of synchronicities.
Details
Initially, I’ll be taking a somewhat curated approach in order to gather some insight on how to scale and invite in more unknowns and people. Once, I gain confidence in facilitating there will be less curation. So, the first wave of shows will be 1 or 2 people.
It will begin with an Invitation to likely a guitar player. Experience level being minimally, someone who knows how to tune the instrument and has an ability to play chords in time, to a more advanced player.
Then there will be a rehearsal where conducting cues are learned and musical elements like which key we’ll play in and will be the feel of the composition(s). The set list may include anything from but not limited to: original songs(instrumental & vocal), compositions, cover songs and improvisation.
Ideal Venues
Art Galleries
Small Theaters - Indoor/Outdoor
Homes that can host a small setup & up to 35 people
Wellness Spaces
Festivals
Explanation of Terms
Session/Scene
Example of the initial session/scene: Starts with one other player and myself. We’ll tune and warmup until we meet on a key we’ve agreed upon. Then we will move to explore the key through improvisation. </insert audio clip> Experimenting with the mood to invoke a story.
A performance is referred to as session or a scene. For a session, audience members will receive a playbill which outlines the experiment, the rules and any necessary participation prompts.
Station
This is where the players will setup. They will be identified with some sort of symbol or color
Conductor
The conductor directs the players participating in the session/scene. There can be different conductors during a scene but only 1 operating at a time.
Player
A player plays and either brings their own “instruments” or utilizes whatever is available at their station. Players follow the instruction of the conductor unless given the green light to improv.
A/V Engineer
The A/V Engineer will serve the role as the documentarian or will participate in setting the scene more in-line with the role of a player. Additionally, their role could be engineering audio and visual effects for the session/scene.
Host
The host will be responsible for managing the audience and providing instruction when needed. Additionally, they would ensure the audience have what they need to enjoy the show.
Elements of Participation
Tuning
The act of centering. We are agreeing to tune as close to center as we can. This requires the act of listening and becoming aware of how far in or out one might be from the center. Noticing the quality of the sound and learning to apply this sort of awareness to the everyday.
Timing
Synching up to rhythm(s) and in turn each other. Establishing the rhythm gives us a place to tether and a common ground to come back to when we are engaged in playing in space.
Tone
How the story is told. It sets the scene. We pay attention to all of the complementary parts being played and agree to be of service to a melody or at least an intended melody.
Methodology
Unconscious Incompetence
Where you don’t know what you don’t know.
You may be unaware of a bad habit you have on your instrument or in your voice. There may be something that you’re not doing that could help your playing or singing a lot.
Conscious Incompetence
You become aware of a skill that you don’t have.
You might unable to play a piece of music smoothly, or not get the sound you want out of your instrument. You may stumble across the reason why by youself.
Most often you reach this stage by having a good mentor diagnose a problem. They’ll then prescribe an exercise or a physical habit for you to carry out to fix it.
Conscious Competence
You can perform a particular skill.
After working on the skill for a while, you can do it. Although you still have to think about it. That verbal part of your brain is still running the show when you’re using the skill.
Unconscious Competence
The skill has become completely automatic.
You’ve practiced the skill enough that you no longer have to think about it.