Codarts Sample Clauses

Codarts. In this workshop Ι experimented with several areas: One was explaining the genre of metric improvisation, by introducing the participants to a certain rhythmic structure on top of which they could improvise. First, we focused on the curcuna usulü. After explaining the rhythmic cycle, I demonstrated how one can improvise on top of it without connecting the improvisation to composition and I prompted them to do the same. In this first stage, I realised that many of the participants were reluctant to improvise metrically. For them it was a new experience, as most of them were quite familiar with taksim but not with metric improvisation. It took a substantial amount of time to persuade them to try to create even one-bar or two-bar phrases, and even the ones that took the risk of doing so faced difficulties in maintaining the rhythmic cycle. It was then that I decided to introduce one of my compositions, ▇▇▇▇▇▇ ▇▇▇▇▇. By introducing a composition, the goals were first to provide the participants with ▇▇▇▇▇-based melodic material they could use for their improvisations. In this case it was ▇▇▇▇▇ ▇▇▇▇▇▇, with a modulation to ▇▇▇▇▇ Karçiğar. This way I introduced them to the tool of modulation in metric improvisation. Second, I wanted to familiarise them with the feeling of already composed phrases of concrete lengths in bars. Through this awareness, we could experiment with trying to feel the length of a phrase in bars to create new phrases in improvisations. The introduction of precomposed material facilitated the process: every one of the participants could at least try to vary a phrase of the composition or even create new phrases. However, for the majority of students, the creation of larger structures of phrasing was an almost impossible task. Another area of experimentation was introducing the participants to the notion of active listening and performing as a group. For this I introduced them to my composition Unsaid. As will be 160 Videos of the workshops are available at ▇▇▇▇▇://▇▇▇▇▇▇▇▇▇.▇▇▇▇.▇▇/files/index.php/s/fe9StJNCllGEDSH and ▇▇▇▇▇://▇▇▇▇▇▇▇▇▇.▇▇▇▇.▇▇/files/index.php/s/ZIK1uR4X9b1yz3p . explained in the next chapter, this composition explores, among other things, the relationships between the performers, and this was something I wanted to work on with the participants. However, extensive use of expressive tools, changing tempo and tension, and exploring the particular groove of compositions are all tools that are difficult to manage in a collectiv...