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We began each day of our session with an open improvisation. This created a sensory experience of a shared musical language and aesthetic, giving us an intuitively cohesive framework from which to examine the structure repertoire in open forms. It also defined one extreme in the continuum between open improvisation and fully executed structure.
We explore the material in an open space—where bodily investigation and the development of experience take place between different perspectives on the structure. These perspectives, in turn, are situated along a continuum ranging from completely autonomous open improvisation to the execution of the structure—or variations of it, both rhythmically and tonally.
This creates a musical state for exploring potential, as opposed to starting from a defined progression or a fixed form and timeline as the foundation for a meaning-making musical narrative. Quite literally, there is neither head nor tail to it, but rather a space in which one can navigate freely and intuitively according to points of energy and tension, without being constrained by a set direction or a shared expectation of arriving somewhere specific with the material.
As in Concept I, we explore the material with the structure as our starting point. Here, the initial focus is on executing the structure, framed by ostinato and melody. The aim is to place ourselves at different points along the continuum between open improvisation and fully executed structure: the bass executes, the piano moves from execution to variation to freely responding to fields of tension and energy, and the drums jump back and forth between the two positions.
As always, reality is far messier than the planned game, which is why the above simply sets the frame for an entry point—a sensory encounter with the material’s potential. As a perspective outside our metaphysical continuum, we also work with a physical pendulum as a very direct generator of pulse and center of gravity.
KONCEPT I
OPEN IMPROVISATION
KONCEPT II
As in Concept I, we explore the material with the structure as our starting point. Here, the initial focus is on executing the structure, framed by ostinato and melody. The aim is to place ourselves at different points along the continuum between open improvisation and fully executed structure: the bass executes, the piano moves from execution to variation to freely responding to fields of tension and energy, and the drums jump back and forth between the two positions.
As always, reality is far messier than the planned game, which is why the above simply sets the frame for an entry point—a sensory encounter with the material’s potential. As a perspective outside our metaphysical continuum, we also work with a physical pendulum as a very direct generator of pulse and center of gravity.
KONCEPT III
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