NORDØST

MUSIC TO LIVE

TABLE OF CONTENTS

Presentation

Nordøst

Movement I

Movement II

Interlude

Movement III

Annex 1

Annex 2





NORDØST

Open composition by Yann Ics [1] 

by.cmsc@gmail.com

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Presentation

This is a workshop proposition to realize a musical event called nordøst. The main aim of this project is to raise awareness of another way to think and to practice music, and by this way stimulate our own creativity and fantasy.

This will be done with an original concept called open composition. An open composition is a textual directive in terms of conceptual art transposed to music, allowing to the performer(s) and the composer(s) a free interpretation of the work involved their own subjectivity. This way to make music dates back to the sixties and seventies with notably the composers John cage and Jean-Yves Bosseur.

Also, on the objectives of this project is to allow any people to access of the musical practice in a playful way. This is ─ of course ─ all benefit for cognitive development.

Note

This workshop is open to anybody wanting to be involved in the event without specific prerequisites. Nevertheless, at least one person in each group has to get sufficient ability in order to take his/her part as group leader.

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Nordøst

There is no limit for the duration of each part of the performance (except for the interlude), and no limitation for the number of performers involved.

Each soloist is free to act at any moment during the performance.

Movement I

The first movement will be a collective composition involving every participant in order to experiment composition as graphical score.  

The main idea is to characterize a musical object by a symbolic representation in order to be easily recognize by each, and articulate these musical objects with some compositional clues.

Movement II

The second movement consist to experiment a new application[2] allowing to follow a conductor graphic score. For now, the following graphical score is representated  in term of rhythm patterns. Thus, this diagram is repeated as many time as needed in order to start very slow and increasing the pulsation gradually until very fast.

mvt2.png

Note :

Each mark states a distinctive sound event as a percussion, an accent, a contrast or other.

    r1 is the pulsation of four beat bar.

    r2 is the mean rhythm.

    r3 is the first variation.

    r4 is the second variation.

All these rhythms is a basic to compose timbre and improvise for soloist(s).

Interlude

For guitar(s) [ fixed score — see annex 1  ]

and soloist(s) [ improvisation or composition ]  ( dreamed with one recorder )

Duration : ~ 5’ 30’’

Movement III

The third movement comes with an integral improvisation around the following harmonic diagram.

 harm.jpg

The accompaniment is done with guitars by alternating variations according to the musical phrases A and B  — see annex 2. So, the structure in time alternates between phrase A and the phrase B according to a fixed number of repetition for each phrase, or a visual signal ( i.e. theater actor gesture ) or any sound signal. Each variation can be mixed with the others in order to create deepness and/or colour of the sound. Each guitarist or group leader are invited to create their own variation.  

If needed, each soloist can manage its own contextual combination and dynamic, and with the others soloists or others part of the movement ( this means articu- lation or cadence ).

Note: This movement has been initially thought with an improvisation of an over- tone singing.

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Annex 1

Interlude

ne-0.png

ne-1.png

Music engraving by Lilypond 2.19.55 — lilypond.org — online weblily.net

Code source nordost.ly

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Annex 2

nordost-cc.png

nordost-cc.png

Realized with Chord Chart application online — code source nordost.chordChart



    —  0’’ to  47’’ variation 1

    — 47’’ to  79’’ variation 2

    — 79’’ to 129’’ variation 3


[1] To know more about Yann Ics, please read the resume on the international professional network LinkedIn and visit the dedicated website experimental.mus-ics.net.

[2] For more details about this “new application”, please contact the author of this writing.