|Paul Cutlan||-||clarinets, saxes + FX|
|Nick Polovineo||-||trombone + FX|
|Noam Jaffe||-||violin + FX|
|Colin Bright||-||piano + FX|
The conjunction or opposition of a planet with the sun or of any two of the heavenly bodies.
A pair of connected or corresponding things : animus and anima represent a supreme pair of opposites, the syzygy.
This is similar to the interaction between players when improvising - sometimes in conjunction sometimes in opposition!
The score is a suggestion towards structure as well as offering pitch & rhythm material.
Players may draw material from any stave & add their own material to the score.
The collation of ideas in the score are intended to give the improvisation a cohesiveness.
Pitch centers suggest a degree of stasis, i.e. they are the pitch focus for some period of time
- then the pitch center may change, leading to a series of pitch centers - a plateaux of pitch centers.
The ideas are meant as a point of departure. But some degree of respecting the suggested material
is important in the beginning.
A degree of cohesiveness IS the point of structure from a composer’s pint of view. That is to say,
the spirit of the ‘idea’ should be maintained. However, the voice of the improvisor is equally important.
And, naturally, experienced improvisors will go beyond this - as they see fit!
There may be or may not be be pulse.
There may be constant rhythm as in a beat i.e drums, percussion, electronic beat etc...
The info for each section focuses on the designated ‘solo’ and support material.
SOLO is is not like a jazz ‘solo’ but it is also not not. It is a way of thinking
- informed by the jazz tradition - of a particular player being the central focus
and the other players being supportive, i.e. with rhythm and pitch, or nothing!
Also, as in jazz, pitch centers are a point of reference, but conceivably no-one
is playing that central pitch. Nevertheless, it is THE point of reference.
Supportive functions may be: -
drones - e.g. reinforcing the central pitch material - with pulse or not
textural material - chords, multiphonics, harmonics, etc, creating color
rhythmic reiteration at the end of the ‘soloists’ phrases
canonic imitation of the phrases played by the ‘soloist’
anything that ‘adds’ to the impro