#Improvisaton

[ruemorinpointcom]

Objectif Scène

Dévoilement de la troisième édition de l’événement Les Mots Parleurs Continue reading Untitled

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#amélie prévost #édition #évènement #bon débarras #dévoilement #improvisation #Improvisaton #jean-bernard hébert #les mots parleurs #lni #machette #nadyne bédard #objectif scène #philippe b #porte-parole

[zef-zef]

total freak out!

Keiji Haino & Peter Brötzmann live at Cafe OTO (London, UK) 2011 [Excerpts]

#2010s #Japan #germany #Keiji Haino #Peter Brötzmann #jazz #free jazz #freak jazz #free improvisation #freak out #madness #guitar #noise #live improvisaton #live at Cafe OTO #London #2011 #legends #Keiji Haino & Peter Brötzmann live at Cafe OTO 2011 #Youtube

[gundamcalibarney]

CJ I FORGOT WHICH LETTERS REPEATED IN YOUR URL I WAS TRYING SO HARD TO FIND YOU

Motht-RR-ash

Had to do two Rs because there's another Mothtrash here

#answer #that moth trash is older so i had to do [IMPROVISATONS]

[improv8-blog]

Q: What makes this system better or different from other material on the subject of improvisation?

A:  In four simple statements 1: The Principles of Improvisaton does not pretend to tell you the how, when or what to play. 2: All that it claims to do is to lay a solid foundation for you to develop your own ideas. 3: It concentrates on developing your ability to generate ideas for playing improvisation. 4: This is the ONLY system that offers the PROOF of what it states at every stage of development.

[abdur-rahman-blog]

Return - An Improvisaton on the Saz by Filip Holm

Peace, one and all… A beautiful solo on the saz.

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#Youtube

[fleurdefeufleurdefeu]

En résidence au Studio Thor, avec le soutien de la compagnie Thor / Thierry Smits.

A la fin de notre 2e jour de résidence nous avons invité une danseuse et des musiciens à improviser.

#studio thor #danse #improvisaton #performance participative #collectif #percussions #percussions chamaniques #cérémonie du feu #ceremonie

[lechatnoir1918]

MFMM Inktober Day 21: Treasure

Started brainstorming this like four hours ago so... yes, the drabble reflects that.

———

Phryne Fisher wouldn’t describe herself as a sentimental person. She’d given up on sentimentality long ago when she had realized that hanging on to memories and things would only cause her pain. Especially the material items she dispensed of quickly when she didn’t need them any longer.

Janey’s ribbon was an exception. It had brought Phryne more pain than anything else ever could but she had needed it as a reminder to keep on fighting. The ribbon had found its place on her handbag, always by her side.

When Detective Inspector Jack Robinson gave her his card, she had kept it as a resource because she suspected that knowing someone in the police force would come in handy. Even better if that someone was a rather civilized detective. The card found its place on her dressing table.

A few months later, she returned home from a football game, the memory of a certain detective’s hands pulling her closer by his scarf still fresh in her mind. The scarf found its place in a box underneath her bed.

Then, an investigation of a young boy’s disappearance, a long lost swallow pin returned to her, gently pinned to her scarf. The pin found its place on her nightstand.

A badge saved for Buffalo Bill, now deeming her honorary constable. The gift meaning so much more. The badge found its place with the scarf, safely tucked underneath Phryne’s bed.

Weeks later, a goodbye on an airfield. The card and the ribbon in her pocket, the swallow pin in place on her flying scarf, the badge and the scarf in her bag. Jack Robinson in front of her.

One kiss, too short to satisfy the fire inside, but a beginning. The memory of it found its place in her heart.

This was Phryne Fisher’s treasure and she’d protect it at all costs.

———

#ah yes the joys of drabbling without a clear concept in mind #it‘s a bit weird I‘ll admit #also total improvisaton on Jack‘s card because I couldnt find a frame where I could actually see the whole thing #listen I‘m going to start brainstorming for tomorrow right after posting this so it wont be quite as spontaneous #yay for procrastinationnnnnn #inktober 2019 #mfmminktober #mfmm #phryne fisher #miss fishers murder mysteries #phrack #miss fisher #phryne x jack #fanart #lechatnoir1918

[theslowbell]

Mirror of Nature at Hungry Brain, January 7th, 2017. 

Mike Weis (percussion), Neil Jendon (synths), Jason Shanley (guitar) and Keefe Jackson on bass clarinet. 

#Mirror Of Nature #Hungry Brain #Zelienople #Cinchel #Mike Weis #Neil Jendon #Keefe Jackson #Jason Shanley #Improvisaton

[philseatins]

(Phil Seatins)

Theme of the day

A piano improvisation with strings, experimental

#SoundCloud #music #Phil Seatins #Piano with strings #Piano #improvisatons #demos

[guitarguitarworld]

Albums and Music that changed My Life!

Albums and Music that changed My Life!

 CLICK SUBSCRIBE! Albums and Music that changed My Life! In the above video I discuss music and albums that influenced me and went on to changed my life! Here is the 1st one! Birds of Fire Mahavishnu Orchestra/John Mclaughlin Guitar Birds of Fire Mahavishnu Orchestra/John Mclaughlin Guitar Watch the video for the rest of my influences!……Then tell me yours! IF THIS VIDEO WAS OF VALUE TO YOU…

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#Changed My Life #composers #composition #improvisatons #instrumentals #lessons #music #Music Albums #musicians #scores #songs

[patchoulism]

I dunno if it’s MOBA audience had changed, or I had. For the last few years I played, I haven’t seen much improvisaton and new tactics in Dnota 2 or LoL. Only HotS and Smite had some, but a tiny amount. Do people really want to win that much, so they use a cookie cutter builds of try to copy pro players? That’s munchkining, that’s not having fun.

[mapmfp-blog]

Thoughts after Thursday’s 13.06.19 rehearsal

Hi all. This is a bit of a long read but I hope you’ll take some time to read through and give some thought to the points below. Some of these I spoke about on Thursday, others have come from the past couple of days. Thanks.

-       We started with the agreement to try out:

1. The proposed composition

2. Having 8 whistles

3. Be more relaxed about the rules of inside/outside and embodiment

And a few other things as well. The performance started off very well and it built an unexpected sense of anticipation in me as the audience member. I wasn’t totally aware of the people on the outside, but I was excited about what the set-up space holds and is going to produce. And when people started to enter, there was a natural and easy energy - which Graeme rightly pointed out as the performers being relaxed and confident - which immediately drew me in. Natusha did something different from the rest and later told us that she did not follow the rules and essentially went against them. And it worked to a degree because it allowed us to make some interesting discoveries. As a result of that, an early conclusion I’ve made is that: Do we need a set of rules in place to achieve the same outcome? Did the idea of us collectively having an objective and set rules in mind contribute to us being confident and relaxed? And did the fact that the other 6 of us ‘following’ the rules, to a certain degree, allow Natusha to break them and break them effectively in a way which contributed to the piece and not take away from it? Is having an agreement of the rules, rather than a strict composition as I proposed, and with possibility of breaking them the way to go?

-       Is our performance a long-improvisaton? If it is, then we have to respect the rules of improvisation. We react not just to the phenomena of the Green but also to the people in the space. I think there is still much more ‘listening’ that we can do. How do we really listen to the space, the people, the aura around us. And allowing things to develop in the space. Improvisation is about the idea of “yes, and…”. It is a very simplistic understanding, but it’s about keeping the ball in the air and not letting it drop. It’s the allowance of space for one’s self to follow and lead; taking turns to lead and follow until the audience can’t tell who is following or leading. It’s a dance,or a duet, where both people shine equally in the end. We have to see the show as a whole rather than individual segments and even when there is a reset, how do we keep the energy and hold the audience’s attention?

-       The previous point reminded me of Graeme’s point about good Jazz musicians, and their ability to improvise and create magic. Their ability to do that is borne out of an understanding and mastery of the basics and play the standards well. When the basics become second nature, then are they able to jam and improvise. It’s the same with sportsmen/sportswomen; the really good ones have such strong mastery of the fundamentals that it allows them to improvise on the field of play and complicate the basics to stun the opponent and audience alike. Compare this to us, I don’t think we know the basics and fundamentals well enough at this point to be able to improvise. And what are our basics and our fundamentals? Is it the rules? Our understanding of the rules? Our understanding of each other? And it’s also about being a good team. We all need one another to perform. We cannot exist without the others. We are Eight as one. Going back to the Jazz, I’m sure the good ones can perform and be brilliant on their own, but when they jam together, the magic is different. I think we can get there, but we need to master the basics and then trust the other’s brilliance as well. And all of us have something equally brilliant to contribute.

-       One of the most memorable moments for me in the last rehearsal was Itxaso’s and Hana’s stillness. It was such a contrast to the rest of the busyness in the space. It was the most economical and frankly boring action, but for me, it was a stand out moment and one of the most interesting things that happened on the day. Ironic when you consider that we always want to do something interesting to be interesting, but it was the simple and mundane thing that achieved that for us in the end. It also felt that both Hana and Itxaso were so in control and confident with what they were doing, that they managed to steal our focus with such economy. So maybe let’s try not to be interesting?

-       How to repeat the performance, with not necessarily the same outcome, but still evoking the same sensations in the audience? What is the anchor that we can hold on to that can help us achieve that. For example, an actor performing in typical play has set lines and blockings that he must remember and execute - those are his anchors. But the anchor alone is not enough, he still has to organically live through each moment and create new life each time. He has to really live it and be in the moment. Having an anchor actually helps the actor, because it allows him to really play on the edge with the knowledge that if he falls off, he is still holding on to the anchor. So instead of restricting the actor, the anchor actually liberates him. Of course, this applies mostly to a good actor. Still, having an anchor can even help the bad actor get by. But the really good ones, know how to use the anchor in the best way and take the most advantage of it.

-       I would also like to caution ourselves from entering masturbatory territory. At the end of the day, we are creating a performance for the audience. And we need to be clear with what we are giving them. There’s no point us doing something that satisfies and makes us feel good, but the audience goes away with nothing. Not only is that quite selfish, it’s also pretty stupid I think. I think that as artists, we have a responsibility to create something that we can share with an audience and has meaning for us and them, and not just be a wank for us. I strongly believe that the audience needs to leave with something.

Questions that I still have:

-       What is our definitive rain plan? Since it looks most likely that one of our shows will be in the rain. We have decided to play with the elements so we have to go with it and really consider it. The one plan that we have about putting the audience in the building adds a quite drastic and significant meaning to our performance. So what is the best alternative? I have a feeling that the rain plan that we agree on has to be something that fits with what we ultimately want to say about with show, rain or shine.

-       How significant is the sound to us right now? Like in my observation in the last rehearsal, the sound seems to be more for the audience rather than it is for us. I think it’s great if the audience gets something more from the sound than what we intended for them, but it still needs to come from a base of us already ascribing a meaning to it for them. And that has to start from us being more aware of the sound and living off it. Does this mean we respond to the bell in the sound? Add whistles to it and take away the ‘reset’ power from the performers? Do we incorporate more silences? I don’t know.

-       Definition of the inside/outside space. I think the definition of what each space means and what is allowed or not in the respective spaces can be good. Although still with the knowledge that we can break the rules. BUT, how do we establish that there are set rules, and the performers are knowingly breaking them? Rather than it just end up looking like a mistake? Because there is also a danger that, to the audience, it can look like we are unclear of the rules. Or what is actually necessary in terms of defining the inside/ouside space?

-       I’m unsure about the lights pointing in different directions/away from the centre, because I feel the sense of expectation of a performance that I got on Thursday would then be lost, But I’m happy to try it out to see if that aligns better with what we are trying to achieve.

Thanks.

[randyklein-blog]

Improvisation #10

All Piano Improvisations by Randy Klein 

#Piano Improvisations #solo piano improvisations #Solo Piano #improvising #improvisaton #Randy Klein