PERFORMANCE MATERIAL for BOUNDARIES

This page contains:

  • the scores which will be used for the Boundaries piece on 2nd December, and pages about conduction signs.

 The references (T2 , S1 etc.. ) point to when they will be used in the piece, as outlined in the OVERALL PLAN (doc)

Jpg’s of scores are available by clicking on the thumbnails, and some texts are pasted on the webpage, others can be downloaded via a link.

  • sounds  (see link below, and a few tasters on this page)

SCORES ETC.

OVERALL PLAN OF PIECE (WORD DOCUMENT)

 

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CONDUCTION VOCABULARY – SIGNS AND GESTURES

SIGNS

(not all of these will be used, and still to be added are Anne’s signals for vocal stuff)

BASIC BUTCH MORRIS SIGNALS: (lifted from his descriptions)
DOWN BEAT is used after a preparatory command. Usually given with either hand

SUSTAIN (chord or continuous sound) left hand extended, palm up, one finger fom right hand laid across the palm. Followed by down beat.
MOCK (OR MIMIC) (similar to repeat #3) You are to mock a player or sound. The conductor will point to the left ear, then to the player or area of sound to be mocked. This is followed by a down beat.
DYNAMICS (LOUD – SOFT) Raising the palms up for loud, down for soft. There is immediate response to this gesture, with no down beat. Or, a clenched fist in the chest area for loud, left hand finger to lips for soft, both given with down beat.
MEMORY If a particular section or phrase is to be committed to memory, the conductor will point with left hand to (left) temple and designate a number with left hand (using fingers as the number). When this action (left hand to temple and number) is repeated with a down beat, you are to recall that particular area. Whatever you were playing when the number designation was given is what you will return to when it is given with down beat.
TIME (PULSE) is given with the finger pointing to wrist (as to a watch). Can be followed by rate of desired time using standard conducting beat – otherwise the pulse is optional. This may be given with a down beat or asked for as an immediate response.
CONTINUE IN THIS WAY Pointing finger of left hand – (two) little circles directed at the musician you wish to continue a developmental process.
ENTRY (COME IN OR FEATURE) A beckon of the hand (like a kung fu challenge) to improvise in whatever way you want. The response is immediate.
PITCH A single finger can be lifted or dropped to show pitch variation.

PANORAMA (PAN OR PANNING) The sign for pan is a raised finger, the down beat is when the baton moves across the ensemble. 1 ) If you are not playing – when the baton enters your physical (body) field, you play. When the baton is out of your field, you stop. 2) If you are playing when the sign for panorama is given, it is the exact opposite of #1. As the baton enters your field, you stop playing. When the baton departs, you begin.
MELODIC MOVEMENT is a gesture used to suggest melody. This can be done in a variety of ways – I have used it by beating time with the left hand and giving graphic information with the right hand. This is done with a preparatory command, without stopping the movement, giving a down beat.

In theory, all gestures are open to interpretation. However, a graphic movement such as:

STOP (DON’T PLAY) Left palm facing ensemble. This brings playing to a stop

OTHER SIGNALS:

ERIC MORECOMBE: Conductor selects members of the group and imitates waving glasses. On the down beat all indicated do something different to what they had been doing to that point.

PREPARED ENDING: Conductor addresses players with a cut throat sign. On the down beat everyone stops.

YOU WILL DO SOMETHING FANTASTIC: The conductor points at a player. On the down beat the player will do something fantastic.

OTHER BUTCH MORRIS SUGNALS WE DON’T TEND TO USE

REPEAT (three circumstances) 1 ) If you are not playing – you must create something to repeat; 2) If you are playing something – the conductor would like to hear it again; 3) If someone is playing something, and the conductor would like you to play it – the sign for repeat is given with the left hand to form the letter “U.” All are given with down beats.

HOLD (DON’T PLAY) Left palm facing ensemble. This is usually given when the conductor wants to give a preparatory command. This is done to give the ensemble ample time to understand the direction.
CHANGE IN TONALITY (KEY OR TONAL CENTRE) Left hand thumb up or down, with down beat.
DIVISION OF ENSEMBLE Slicing motion with left hand, to separate or divide the ensemble in parts or sections.

DEVELOP (OR GO ON) is given to indicate when the musician is to develop a phrase, a repeat, or sonic area. This is done by pointing with the right hand to the extreme right (flank), arm extended. This may be done with or without a down beat.
EXPAND is used to develop a phrase or area, then to bring it back. This is done by placing both hands in front of the body (extended arms) together (for the phrase) then separating the hands for the development.

PHIL MINTON SYMBOLS

HANDS PUSHED FORWARD FINGERS APART (AS IF PLAYING ORGAN) Each singer picks a note and sings as if a separate keyboard key.

CONDUCTOR APPROACHES SINGERS AND SINGS TO THEM They imitate conductor’s sound

CONDUCTOR SIMULATES EATING Singers have dining conversation

HANDS HELD PARALLEL AND APART Singers sing a repeated phrase that is based in length in the distance of the hands

SHORT NOTES individual random pointing (often with eyes shut) – sing a short note or phrase if you think the finger points at you

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