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    Contemporary Music, Improvisations with Signs, Soundpainting

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    Contemporary Music, Improvisations with Signs, Soundpainting

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    1K views82 pages

    Soundpainting Workbook 2

    Uploaded by

    Rafael Lima Pimenta
    Contemporary Music, Improvisations with Signs, Soundpainting

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    SOUNDPAINTING THE ART OF LIVE COMPOSITION WORKBOOK 2 BY WALTER THOMPSON a ry ra Copyright © ® by Walter Thompson. All rights reserved. No part of this book, including text, artwork, photographs, and DVD may be reproduced or Gapsmised in any form, by any means (electronic, photocopying, recording, or otherwise) without the prior written permission of the publisher. ‘Artwork copyright® by Jennifer Rahfelde. No image may be reproduced, in any form, without the permission of the artist, I dedicate this book to the memory of my dear brother Charles, a great musician and artist, dedicated humanitarian, and lover of life. I would like to give special thanks to all those who help me realize this work - Jennifer Rahfeldt, Francois Jeanneau, Etienne Rolin, Evan Mazunik, Linda Blacken, Eric Chapelle, Sarah Weaver, Ketil Duckert, Gustav Rasmussen, the Borderline Ensemble, Rasmus Alkestrand, Michael Ek, Sara Sjéholm Ericson and the members of Soundpainting Think Tank 2009. INTRODUCTION HOW TO USE SOUNDPAINTING WORKBOOK 2 THREE RATES OF DEVELOPMENT LAYER SCANNING PALETTES SOUNDPAINTING VS. TRADITIONAL COMPOSING COMPOSING WITH SOUNDPAINTING SOUNDPAINTER VS. CONDUCTOR COMPOSITION OWNERSHIP. A LIVING LANGUAGE THE STRUCTURE OF SOUNDPAINTING THE DVD GLOSSARY OF GESTURES INDEX OF GESTURES CERTIFICATION COURSE SUPPORT/CONTACT 24 16 77 78 | INTRODUCTION ‘Soundpainting Workbook 2 takes an in-depth approach to furthering your skills as a Soundpainter: It will take you time to learn the new concepts and gestures and be able to incorporate them in your Soundpainting compositions. So don’t hurry! Work hard on getting the most out of each gesture — explore as many ways to use each gesture as you possibly can. A skilled Soundpainter doesn’t need hundreds of gestures to compose an excellent piece. Ihave often composed works with as few as ten to fifteen gestures and sometimes with just one or two. When | first developed Soundpainting, | worked with just a handful of gestures. At this stage in your development itis important to have gained a high level of fluency with all the gestures contained in Workbook |. When a performer, in your ensemble, asks you something specific about a gesture you should be able to give them the correct answer. For example: A performer asks if he/she can develop a Long Tone as they wish? The answer is NO — you must wait for the Soundpainter to sign Develop. This question, amongst many others, | have been asked when first training a new group in Soundpainting. ‘You must be proficient in both physically signing the gestures and explaining what they mean and how to interpret them. I have included sections on my views and philosophy of Soundpainting. | offer these to you as an insight to how | think of my work as a Soundpainter. My views are not necessarily going to be yours, though | hope these insights may offer you some guidance in furthering your Soundpainting skills H OW TO USE WORKBOOK 2 ‘Study and become fluent in explaining what each gesture means and how to perform it. A fluent Soundpainter is able to answer all questions from the performers, pertaining to what, is expected when performing the gesture. Refer to the DVD for help in the physicality of sig- ning each of the gestures. | have included a written physical definition (PD) and photographs of each gesture to aid you in situations where you are unable to view the DVD but,as much as possible, study the DVD and copy the exact way | am signing the gesture. To help you locate the gestures on the DVD, there is a reference under each gesture name and syntax function in the Glossary of Gestures. Make sure to follow the Soundpainting syntax of Who, What, How, and When. It is very important to stick to the syntax if you want to further your fluency. With diligent study, Work- book 2 offers you thousands of phrasing possibilities. Incorrect syntax usage will result in structural problems and impede your progress. Use A Mirror Don't forget that it is very important to practice all the gestures in front of a mirror and to videotape for later study. You may imagine you are making the correct movements only to find out at a later date some part of your signing is incorrect.A Soundpainter must train their movement like a dancer — make sure you know what your body is doing and what your gestu- res look like - clarity of movement is the key to the success and realization of your ideas. In order to help you understand how to use some of the gestures contained in Work- book 2 | have composed phrase examples in the Glossary of Gestures section. Many of the gestures in Workbook 2 may be used in multiple ways. | suggest you study and cross-reference the gestures in Workbook | with Workbook 2 — this will open up infinite combinations and phrasing possibilities. Note: created most of the gestures in Workbook 2.When other Soundpainters have created a gesture, | have given them credit. Note: Soundpainting Workbook 2 is a continuation of Workbook | and is for musicians only Soundpainting Workbook 3 for Theatre and Dance addresses first and second level multidisciplinary Soundpainting. a tas RATES OF DEVELOPMENT 1.2.3. There are three basic rates of development the performer must be aware of in order to perform certain gestures correctly. |. Point to Point and Scanning are both gestures where the performer is required to develop their material ata slow rate. If you (the Soundpainter) have signed a player to Continue, in Point to Point or Scanning, the performer develops their material in such a way that one minute later there would still be a relationship to their original idea. 2.With Play Can’t Play and the Develop gesture, the rate of development is about twi- ce as much as that of Point to Point or Scanning ~ a minute later there would only be a vague relationship to the original idea. 3.The Improvisation gesture is the only gesture in Soundpainting where the rate of deve- lopment is left open to the performer — they can develop at any rate they desire. Laver SCANNING There is a general rule in Soundpainting which states: Whenever any Content is being performed it is an error if the Soundpainter uses Scanning, Point to Point, or any of the other Modes or Content gestures without first indicating what to do with the material being performed. For example: When your group is performing a Long Tone and you would like to use Scanning, you would use Layer Scanning in place of regular Scanning - the performer plays new or modified material as the (Layer) Scanning arm lines up with them and then returns to their original material as the Scanning arm passes. (See Glossary of Gestures for more information). Palettes - what are they and how to use them The term Palette in Soundpainting means: any section of rehearsed and/or composed material or set of rules.A Palette may be any where from a few seconds in length to over a minute or more. Palettes are usually rehearsed with your group in advance of a performance. There are no set rules stating how to use Palettes. Below | offer some ways to work with your Palettes but keep it in mind you can use Palettes any way you choose. Palettes in a set time-line A common way of working with Palettes is interjecting them in a set time line - using a piece of music where you want the Palettes performed in a specified order. To illustrate this point, imagine using an existing composition such as Haydn's Concerto in C for Cello and Chamber Orchestra and dividing it into sections, giving each section a name such as Palette |, Palette 2, Palette 3, etc. Now take all the Palettes plus your skills as a Soundpainter and make a piece! ‘When to us a Palette ‘You will probably discover that one of the most challenging aspects will be how and when to incorporate the Palettes. There are many solutions to this, the easiest being foreshadowing the introduction of a Palette by using a simple phrase such as Point to Point, With, Palette |. Using this phrase the performers will play as much of the Palette as they are able to depen- ding on how long the Soundpainter points at them. You will receive only a short piece of the Palette — just a taste of it. Point to Point,With, Palette | is just one of many ways to introduce a Palette — there are many simple phrases you can create to aid you in introducing a Palette. Hint: use the With gesture with Modes and Content gestures to discover new ways. For example: Shapeline, With, Palette 1; Play Can't Play, With, Palette I. Note: Don't forget that the development parameters of the gestures remain in place even though you are using a Palette. So, if you sign Point to Point, With, Palette | and then sign to the performer to Continue, he/she can develop what they are performing because they are in Point to Point, which has specific development parameters defaulted in the gesture. Using Palettes without a set time-line Of course, it is not necessary to foreshadow the Palette as I have described above ~ to per- form your Palettes in a set time-line. You may want to incorporate your Palettes using a non- linear approach — having no idea of when or where you will place them in the piece; Palette 4 may come before Palette |; Palette 8 may come after Palette 10, etc. In this approach the Soundpainter decides when to use the Palette based on what is going on in the ensemble at the moment he/she feels like incorporating the Palette. Iwill often take a part of a Palette, a couple of measures or less in length, and Sound- paint with it. It is not necessary to perform the Palette in its entirety. I've listed below a few of the more common phrases | use when Soundpainting with a small section of a Palette. Point to Point, With, Palette | Scanning, With, Palette | Play Can't Play, With, Palette | Improvise, With, Palette | Shapeline, With, Palette |, Measure 7 Long Tones, With, Palette 1, Measure 2 Pointillism, With, Palette |, Measure 5 Set your Defaults in rehearsal Before | incorporate Palettes in phrases (like the ones | have outlined above) | will often Default in rehearsal that the performers may choose to play from any part of the measure ‘or must always play it from the beginning. If | have not Defaulted in rehearsal how to perform the Palette, then | will do it in performance utilizing phrases like the ones | have outlined below. Point to Point, With, Palette |, Measure 2, From the Top (start at the beginning of the measure) Scanning, With, Palette |, Measure 7, Open (choose any point in the measure to play) Using Palettes in other ways Another very important aspect of the Palette gesture is using it to identify a set of rules or structures you would like performed and don't know how to sign them. Perhaps the language needed is not in either Soundpainting Workbook | or 2.To solve this problem, make a Palette out of your idea. For example: You may want everyone to perform in a specific tonality but you don't know how to sign it. Label the specific tonality Palette |. So, every time you incorporate Palette | in a phrase you will receive material based in the specific tonality — Minimalism, With, Palette | (for example). Palette Punch A relative to the Palette is the Palette Punch.A Palette Punch is always short, a few seconds in length. After performing the Palette Punch, the players must immediately return to the material they were performing before playing the Palette Punch. This is not true of a Palette. By default, after the performers finish a Palette, they go to silence, unless otherwise signed by the Soundpainter to perform something else. Note: | purposely left out Palettes and Palette Punches in Workbook | because | believe it is very important you first learn to compose in the moment using only the Soundpainting gestures. Soundpainting without the use of Palettes is what I term “Open Form” Soundpainting. It is my experience that many beginner Soundpainters will shy away from Open Form Soundpainting because the feeling of familiarity inherent in using Palettes is more comfortable and safe. You will best further your skills by both challenging yourself to compose Open Form Sound- paintings as well as those incorporating Palettes. <_— My first Open Form Soundpainting When | first began developing Soundpainting in the 1970's | relied heavily on the use of Palettes. | would incorporate short Open Form Soundpainting sections between the Palettes. My Palettes were usually about one or two minutes in length. It wasn't until the 1980s that | began to compose fully Open Form Soundpaintings. My NYC-based ensemble, The Walter ‘Thompson Orchestra was performing at The Kitchen. Just before the performance began Frank London, who was a long time member of the group, suggested | Soundpaint without the use of Palettes — he took them off my music stand! To be honest, the thought of Soundpainting without the use of Palettes scared the hell out of me. I found it extremely challenging and exhilarating but | did it and not without some difficulty. My first Open Form Soundpaintings were only ten minutes in length, and not because this was what | wanted but because it was as much as | could do without the inclusion of Palettes.At home after the performance, | decided that for the next three years | would only compose Open Form Soundpaintings in order to strengthen my work as a real-time composer - to explore and develop a fluency in realizing my ideas and to improve the physical clarity of my signing. After the three years of self-imposed Open Form Soundpainting, my ability and skills to compose in the moment had increased substantially, and my views and philosophy on real-time composing began to take a new shape. SoUNDPAINTING VS. TRADITIONAL COMPOSING | define traditional composing as works created by the use of forms and systems which incorporate standard and/or non-standard music notation, graphic scores, head arrangements etc. and live composing as works created in real-time using a language of gestured signs or some form of cueing system. To successfully compose live, you and your ensemble must be fluent in that sign language, or cueing system used just as in traditional composing, where the success of any work is dependent on a familiarity of the written structures and an ability to perform with and within them. When comparing live composing using Soundpainting to traditional composing, two very ob- vious differences stand out: 1. Editing possi ss. Traditional composing offers editing possibilities; which Soundpain- ting does not. In traditional composing you can come back the next day and continue working ‘on your piece. Once you've concluded your Soundpainting, it's finished; you can't come back the next day, week, or month to work on it. 2. Ease of composing certain types of structures. There are many structures available to you in Soundpainting that are not available in traditional composing, or (at the very least) would be incredibly difficult to notate and perform. For example: Imagine how hard it would be to take a complex Scanning section and transcribe it to traditional notation and then per- form it with the same ease and clarity you achieve through signing it i.e. using Scanning is much easier than trying to notate something similar. In comparison, the same can be said of trying to Soundpaint a work utilizing structures, which would more easily be notated — some structures are simply easier to sign and others are easier to notate. TW The Soundpainting Composer My reason for outlining these distinctions is to draw attention to a common pitfall you may encounter when gaining fluency in the Soundpainting language. What do | mean by this? Often, beginners will try to Soundpaint in the same way they might compose traditionally.As you study and become more fluent, the concepts you will likely bring to your Soundpain- ‘tng will be saturated in traditional forms. How could it not be? We all learn traditional forms — they are a part of everything ‘we know.They are important to how we conceive our work, but they must not be roadblocks to new ideas and concepts. You can't bend Soundpainting into traditional composition or visa versa. If you try, you will be overlooking many concepts only available to you in Soundpainting. Think of it this way: when speaking with a friend, you don’t prepare what you will say to each other; you speak and create your conversation in the moment. There is a fluidity in how you relate to each other;a conversation takes on a life of its own. In Timothy Gallwey's book “Inner Game of Tennis” he alludes to the notion that if you pre-plan hitting the ball down the alley the next time your opponent hits to your backhand, you will invariably make a mistake and hit the ball out. The moment you begin pre-planning what to do next is exactly the mo- ‘ment that you have stepped out of the state of mind needed to Soundpaint. In live composition, you must be ready for both the expected and the unexpected. The act of creating a Soundpainting is not something you are in total control of. Performers’ responses will be both predictable and unpredictable. This dichotomy, or as | call it,"the X Factor”, is one of the most exciting and important aspects of being a Soundpainter. Embrace the unknown along with the known and make a composition out of it! A Palette Story Several years ago in Paris, | gave a Soundpainting performance with the Paris Conservatoire Soundpainting Orchestra - a group organized by Francois Jeanneau. We were a multidiscip! nary orchestra. The Conservatoire allowed us to bring in actors and dancers from outside the school to form a multidisciplinary orchestra. | rehearsed the group all week and at the end of the week we gave a concert. The orchestra was assembled on stage, ready to start the piece. | began the piece by signing Whole Group, Play Can't Play 4, lay. threw out the Play gesture, initiating the first Cell to play, and knocked over my music stand containing all my Palettes, sending it flying across the stage.As | have said, you must deal with what happens in the mo- ment - so | did! | signed Actor 1, Stand Up, Walk, Downstage, Relate To (pointing at the music stand), Slowly Enter. Actor | stood up and walked downstage speaking about the music stand and what | had done to it.A few moments later | signed Rest of the Actors, Relate To,Actor I, Stand Up, Walk, Downstage, Slowly Enter. The rest of the actors stood up, walked downstage and began speaking with actor | about the music stand | had just knocked over. About 20 se- conds later I signed Rest of the Group, Relate To Actors, Stand Up, Walk, Downstage, Slowly Enter. Musicians and dancers began relating to the actors, using their instruments, and began walking downstage. When they arrived downstage | put the whole group in Launch Mode and composed very quick changing structures, using gestures such as Long Tone, Minimalism, Hits, Laugh, Speak, Shapeline, among others. | worked this way for about 5 minutes and then signed everyone to sit down and continued Soundpainting. It was a wonderful way to begin the piece and it all came from accidentally knocking over my music stand! At the conclusion of the per- formance several audience members came up and commented on how wonderful and unusual the opening of the piece was. They asked how long it took to rehearse the opening;| lied and said “one [whole] month!” ‘One final note Live composing is like life. f you think you can structure your life and have it come out as plan- nred...well....some of it may go as you wished but most of it won't. Soundpainting is the same way. Don't be fearful of the unexpected — its going to happen. Work with it! 12 Composine WITH SOUNDPAINTING At this point in your studies you understand Soundpainting is not a style of music such as Classical, Jazz, Rock, Rap, Folk, etc. It is a sign language for composing in real time. You may compose in anyway your imagination takes you. In comparing Soundpainting to writing, using a spoken language such as English, French or Spanish, you will discover that i equally as flexible. For example: Using a spoken language some of the possibilities available to you include writing a Haiku, long poem, a short story,a novel, and a play: There are many ways to ‘compose with words. These same possibilities are available to you when composing with the Soundpainting language. There are no limits. You (the Soundpainter) may choose to compose a piece embodying the influence of Bach, traditional jazz big band, heavy metal, world music, new music, or creating something unique utilizing a myriad of styles and genres. There are countless possibilities. You will discover ways to compose which you may have never conceived of or thought possible. 13 SouNDPAINTER VS. CONDUCTOR A Point of Clarification ‘A Soundpainter is a real-time composer using the Soundpainting language to initiate specific performance parameters and then composes with the results offered by the players to create a live composition.A Soundpainter may incorporate traditional conducting practices such as beating patterns and modifying material during performance, but ultimately, the Soundpainter is the composer, making choices in the moment as to the next direction to take his/her com- position. ‘A conductor is an interpreter of either their own work or, more often, someone else's work. ‘Though Soundpainters and conductors share a few common practices you are a Sound- painter not a conductor. Become comfortable with calling yourself a Soundpainter. 14 (ro ecitolN OWNERSHIP Many people ask: “When you compose a Soundpainting, who does it belong to - whose composition is it?” The answer is simple: It’s yours! You are the one composing - creating the piece in the moment utilizing Soundpainting gestu- rres to indicate very specific and detailed instructions to be performed. You make the choices of what material to compose with and how to develop it. You are the one creating the architecture and momentum of the piece. If you have Soundpainted a concert, a CD, a radio show, a film, etc. all of these Soundpaintings are your compositions and the title of composer belongs to you. A LIVING LANGUAGE The Soundpainting language is a living and growing language, which presently comprises more than 1000 gestures. Spoken languages are changing and growing all the time. Whether by necessity or passage of time of generations, humans inherently create new concepts and modify older ones to fit contemporary times - new words are created, older words become passé, shortcuts and slang are developed etc. The Soundpainting language shares this same growth pattern. In order to address the needs of growth and to keep the language from spreading out into hundreds of separate dialects or patois, each year experienced Soundpainters come together to further develop the language in what are known as Soundpainting Think Tanks. Each Think Tank is an annual conference where | invite Soundpainters from around the world to come together to share ideas and help further develop the language in all the disciplines. To date (2009) there have been 14 Think Tanks. In addition to the annual Think Tanks the resource and research www.soundpainters.org is a site where Soundpainters develop this language year-round, and where you can pose Soundpainting questions. THE STRUCTURE OF SOUNDPAINTING As you become more fluent with the Soundpainting language you may find it advantageous in having an understanding of how the structure of the language is broken down to its parts. Though it is not necessary to fully comprehend the structure in order to be a fluent Soundpainter, | do suggest you gain a general knowledge of how the gestures function within the phrase, as it may aid you in solving problems when creating and signing new phrases of your own. The Soundpainting gestures are grouped in two basic categories: Sculpting gestures and Function signals. Sculpting gestures indicate What type of material and How it is to be performed and Function signals indicate Who performs and When to begin performing. Who, What, How, and When comprise the Soundpainting syntax. Note: The How gestures are not always employed. The Soundpainter often signs a phrase leaving out a How gesture. For example: Whole Group, Long Tone, Play. If you sign your phrase without a How gesture, then it is the performers choice in deciding the dynamics and quality of the material. In the Glossary of Gestures section, underneath each gesture name is its structural breakdown - Category, Subcategory and Syntax. In some cases a secondary syntax function is applicable — | have placed the secondary syntax in parentheses. The Configuration gesture is the first example in the Glossary of having both primary and secondary syntax functions. It is both aWho and a How gesture. Configuration indicates Who is going to play as well as How to perform the material (see Configuration in the Glossary for a more detailed description). 17 The Soundpainting syntax Who, What, How,When and the two basic categories Sculpting Gestures and Function Signals are further broken down into six subcategories: Identifiers, Content, Modifiers, Go gestures, Modes, and Palettes. | = Identifiers are in the Function category and are Who gestures such as Whole Group, Woodwinds, Brass, Group I, Rest of the Group, etc. 2 Content gestures are in the Sculpting category and identify What type of material is to be performed such as Pointillism, Minimalism, Long Tone, Play Can't Play etc. 3 - Modifiers are in the Sculpting category and are How gestures such as Volume Fader and ‘Tempo Fader. 4— Go gestures are in the Function category and indicate When to enter or exit the com- position and in some cases when to exit Content such as Snapshot or Launch Mode. 5 — Modes are in the Sculpting category and are Content gestures embodying specific perfor- ‘mance parameters. Scanning, Point to Point, and Launch Mode are several examples of Modes. 6 — Palettes are in the Sculpting category and are primarily Content gestures identifying composed and/or rehearsed material (see Palettes in the Introduction section and the Glos- sary of Gestures for a more in-depth description). Note: In creating the Soundpainting language | use the English language for naming the gestu- res.The gesture titles often have little or no relation to the English word they are named after. For example:The gesture Play is never used as a Content gesture. Play is a Go gesture. In oth- er words it is an improper use of the Play gesture to sign: Whole Group, Play. An experienced Soundpainting group would remain silent because there wasn't a Content gesture given such as Pointillism —Whole Group, Pointillism, Play. Without a Content gesture there isn’t any indi- cation of what to play. ai: DVD The DVD is included to help you learn how to physically sign the gestures as well as to give you some ideas of how to use them. The DVD is divided into sections | to 9 to help you more easily locate the gestures. For example, Section 3 incorporate the Change Family and Section 9 addresses Soundpainting with Palettes. I have also included two performances. Halfway into the performances | call up Soundpainter Jennifer Rahfeldt to give you an idea of how you can compose with more than ‘one Soundpainter at a time. The DVD is visually organized in four separate boxes. 1am positioned on the upper left-hand. The text box is on the upper right side. The group is positioned at the lower left and right side just as the audience would see them. The group has been divided into two groups. Group | is on the left-hand side and Group 2 is con the right-hand side ~ as seen from the perspective of the audience. In Section 9 of the DVD, | show some ways to work with Palettes. Ihave composed two short Palettes, 15 to 20 measures in length. | often Soundpaint with only a small part of each Palette, rarely performing the Palette in its entirety. | identify short sections of the Palettes and then use the sections to flavor the Open Form Soundpainting. The examples in Section 9 are an introduction to some of the many possibilities when Soundpainting with Palettes. In taping Workbook DVD 2 | decided to include some mistakes in order to show you how I may work with them. | have repeatedly said how important it is to work with “mistakes” when they happen. 've only included a few — see if you can pick them out. Note: In Section 2 where | sign More Space Fader (with the Fader arms fully extended), the group mistakenly played the gesture without enough space.When the Fader arms are fully extended there should have been at least twice the amount of space/silence collectively performed. More Space Fader is a difficult gesture to perform — groups will often make this same mistake and play too much. The DVD - The Borderline Ensemble with Walter Thompson and guest Soundpainter Jennifer Rahfeldt. | would like to give special thanks to Gustav Rasmussen, Ketil Duckert, the Border- line Ensemble and Jennifer Rahfeldt for their wonderful work in helping me in the realization of the workbook DVD. The Borderline Ensemble was founded in 2005 by Soundpainters Gustav Rasmussen and Ketil Duckert and is the first Danish Soundpainting orchestra. Mr. Rasmussen and Mr. Duckert focus the ensemble’s direction in a variety of ways including taking established pieces such as Stravinsky's "Sacre du Printemps” and Ravel's "Rhapsodie Espagnole” and composing Sound- paintings with them. Borderline Ensemble is based in Copenhagen and gives performances on a regular basis at concert venues including Statens Museum for Kunst, Club Conscious, Cph DOX, Kedbyen, Wundergrund Festival, Literaturhaus among many others. In 2006 they received a three-year support grant from The Bikuben Foundation and are being supported in part by the Danish Art Council, For more information on Borderline Ensemble please visit them at borderlineensemble.dk Multidisciplinary artist Jennifer Rahfeldt is founder of and Soundpainter for the Swedish Soundpainting Orchestra based in Helsingborg, Sweden. She founded the group in 2001.Her work as a Soundpainter and multidisciplinary artist is dedicated towards exploring, combining and finding how separate artistic expressions such as sound, movement and visual art can work together on an equal level. She has been a Soundpainter composer for more than 10 years and has given Soundpainting concerts, workshops and lectures in Sweden, Germany, Spain, France and the United States. Borderline Ensemble Ketil Duckert - trumpet Lars Soberg Andersen - trumpet ‘Thomas Caudery - trumpet Gustav Rasmussen ~ trombone Ke ‘Christensen - trombone Bjorn Heeboll - percussion Mike Taagehoj — double bass Jennifer Rahfeldt | 2nd Soundpainter “yy Recorded October, 2008 at 'WCA Music Studios in Copenhagen, Denmark by Pavement Productions Michael Ek — camera director/editor Sara Sjéholm Ericson -Ist assistant Tobias Olsson — 2nd assistant 20 DVD Sections | to 9 The list of gestures below is outlined in order of their appearance on the DVD. This list will aid you in locating the gestures on the DVD. Section | on the list directly corresponds to the gestures in Section | of the DVD, Section 2 to Section 2 on the DVD, etc. Many of the new gestures, you are learning on the Workbook 2 DVD are signed as part of a phrase. | will sometimes sign the phrase several times to ensure the ensemble is clear on what is to be performed, Repeating your phrase, to the group is a suggested practice when first working with new gestures. | have included analyses of certain more complex gestures, such as Play Can't Play, in order to help you begin to explore some of the ways they can be used. Section | Walter Thompson Rhythm Tap 4 Beats Match Slowly Enter (Aka Enter Slowly) Slowly Exit Drone Freeze Morph Layer Scanning Modify Scanning Go Back To Go Onto Silent Hit (See Silence in the Glossary) Section 2 More Space Fader Staccato Melody Legato Layer Point to Point (See Layer Scanning in the Glossary) Snapshot PTP (you will see | sometimes use a shortcut if appropriately placed) Tear Up Organic Development (Aka Organically Develop) Soundpainter (Jennifer Rahfeldt 2nd Soundpainter — no text just an example of two Sound- painters composing at the same time) Only Open Blinders Within Duration (Fader) Head Tempo Without Sprinkle Initiate 21 Section 3 Change This Change Add Change Subtract Change Addtract, Section 4 Launch Mode Configuration (Configuration | = Trombones (Long Tone), Double Bass (Shapeline), Trumpets (Minimalism), Percussion (Pointilism). Glissando Block Scanning Reverse Block Scanning Ladder Launch Mode (without Configuration 1) See nS Play Can't Play (PCP) You Cell (see Cell in the Glossary) Analysis PCP 3; cycling through the cells; no development; development; new PCP 2: development after Ist cell; PCP 5;in cell 4, Group 2 Trombonist signs the | Don't Understand gesture to Sound- painter because he does not know which cell the Soundpainter is in; Soundpainter signs back This Is Cell 4, Go Onto, Cell 5;Soundpainter signs Watch Me to alert the group the Cells will be signed out of order by using the Cell gesture; PCP 4; PCP 3. Section 6 Classical Feel March Feel Rock Feel Swing Feel Funk Feel Techno Fee! 22 Section 3 Change This ‘Change Add ‘Change Subtract (Change Addtract Section 4 Launch Mode Configuration (Configuration | (Minimalism), Percussion (Pc Glissando Block Scanning Reverse Block Scanning Ladder Launch Mode (without Configuration 1) ‘Trombones (Long Tone), Double Bass (Shapeline), Trumpets ism). Section 5 Play Can't Play (PCP) You Cell (see Cell in the Glossary) Analysis. PCP 3; cycling through the cells;no development; development; new PCP 2: development after Ist cell; PCP 5;in cell 4, Group 2 Trombonist signs the | Don’t Understand gesture to Sound- painter because he does not know which cell the Soundpainter is in; Soundpainter signs back This Is Cell 4, Go Onto, Cell 5; Soundpainter signs Watch Me to alert the group the Cells will be signed out of order by using the Cell gesture; PCP 4; PCP 3. Section 6 Classical Feel March Feel Rock Feel Swing Feel Funk Feel Techno Feel 2 Section 7 (C) Major (A) Minor (C) Augmented, Chord (C) Diminished Whole Note (you will hear some players choosing to enter after the first beat but will play a full 4 beat Whole Note - offsetting it. Half Note Quarter Note Eighth Note Eighth Note, Triplet Notes (I use a Long Tone as the Content gesture) C.DERGAB (8)Flat ()Sharp Sixteenth Notes Section 8 Voice Mouth Open/Close Palette Punch | — | rehearsed the word “right!” as the Palette Punch. Note:There are two ways to ask an individual or group to sing (vocalize) a Long Tone. You can sign: Whole Group, Sing (er), Long Tone or Whole Group, Long Tone, With, Voice. Both are correct. Section 9 Palette (1) Back To The Top Read On Palette (2) Measure Break Launch Point to Point Brush Work Vamp Analysis ‘When Soundpainting with Palettes | often modify the Palette as itis being performed, sometimes without ever performing the Palette it in its entirety. I composed two short Palettes. As you will hear and see, the Palettes are used many different ways. The gestures listed above in Section 9 are some of the ones | most often use when working with Palettes. ‘> <«

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