Musicians in Dance
Volume 7
Winter 2007
The Journal
Table of Contents
From the Editor
New Directions - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - William Moulton
Point of View
A Survivors Guide for Musicians in Dance - - - - - - - - - - - - - - - - - - - - - - 2
Steven Rush
Scholarship and Research
A Movement-Pattern Approach to Musical Organization - - - - - - - - - - 7
Andrew Warshaw
26
31
Jon Scoville
38
Neil Dunn
41
Robert Kaplan
Keith Fleming
Chris Peck
57
New Directions
By William Moulton
This Journal highlights some new
directions in our field, both in terms of
scholarship (Andrew Warshaws interesting, and we think ground-breaking, article on a movement-based approach to
the analysis of music), and in our new
Perspectives Series on electronic instruments in the dance class.
In the Perspectives Series we ask
five musicians who use electronic instruments in dance classes to both reflect on this new trend in dance accompaniment and to describe what technology they use, and how they use it. We
asked them to
include enough
Staleness is the
specifics about
pitfall of our
the technology
isolation, and the
that others might
be emboldened to
only way to keep
try their hand
alive and healthy,
and have the first
artistically, is to
step into the
technology supkeep working at
plied by those
your art form and
whove already
developing yourspent the many
hours
finding out
self as an artist.
what worked and
how to plug it all
together. As youll see, theres a wide
variety of equipment and approaches.
This typifies our field a field marked
by a very broad range of idiosyncratic
approaches to almost every aspect of
dance and music from composing, to
accompaniment, to teaching.
There are two reasons for this idiosyncratic tendency in our field. First,
theres no accepted training ground,
which means theres no accepted path
into the field and no accepted criteria or
standard for entrance. (see Steven Rushs
article on surviving in academia) As a
1
POINT OF VIEW
The Job:
Jobs as musicians in dance are out
there. They exist. Know it and believe
it. Good jobs, however, are as rare as a
friendly Blue Jay or a Double Rainbow.
Most jobs will require the ability to teach
a Music Fundamentals class, play for at
least two classes a day (Modern and Ballet), coordinate all musicians for other
classes, create musical scores for student
and faculty concerts (usually meaning
dubbing/editing, but also writing music),
and possibly teach a choreography class.
2. Be Visible
Just as importantly, ones visibility in the artistic world should go beyond the world of dance. To grow as a
musician one should be present in the
world of musicians, giving concerts of
whatever music we make. The myriad
possibilities are too numerous to generalize, since the kind of music-making we
dance musicians do is shockingly wider
than the narrow world of Classical Music, and likely to include everything
from noise-based improvisation concerts,
site-specific works, improvisation jams
and world music.
Examples of visibility by musicians refusing to be traditionally pigeonholed can be found
in such important
Simply put, when
figures as John
Cage and Lou
asked about my
Harrison. A study
role in the dance
of their performance careers could
department,
prove helpful as we
often my answer
create paradigms
is simply, "to
for both our progress in the field,
bring more
as well as litmus
musicians into
tests for success
the building."
within it. I referred
specifically to the
One can't do it by
career of David
staying in the
Tudor when disbuilding.
cussing my own
career path in a recent document prepared for my promotion to Full Professor not that I am another David Tudor, nor did I create the
career path that he so wonderfully trod
one generation before me.
Many of these courses do not exist, but students are hungry for them.
Create them, and teach them as overloads for a time. Then permeate the collusive world of the curriculum and put
A MOVEMENT-PATTERN
APPROACH TO MUSICAL
ORGANIZATION
By Andrew Warshaw
1.
2.
3.
4.
5.
SPINAL PATTERNING
MouthHeadNeck
SpineTail
HOMOLOGOUS PATTERNING
Uppers push or reach together.
Lowers push or reach together.
CONTRALATERAL PATTERNING
Left upper and right lower extremities
advance together.
HOMOLATERAL PATTERNING
Same-side upper and lower extremities flex
or extend in unison.
10
lined by the fact that each can be defined, in a neurological pattern sense, by its initiation and by the
relation of limb movement to midline (see p. 9).
7
Cohen (1993; Hartley, 1991) describes each movement-pattern as embodying what she calls the patterns mind, an affective state incorporating psychological and kinesthetic qualities. Something of
this nature may be experienced as each pattern is explored in movement.
8
Space also restricts discussion of this important
aspect of pattern-expression: the notion that musical
listening involves the (unconscious) recognition of
these patterns. Godoys work on motor-mimetic musical cognition (2001, 2004) suggests mechanisms for
this. Future investigation of the extent to which the
movement-patterns are recognized in music might
compare the affective experience of musical passages
and movement-patterns.
11
grace notes are not consequential in regard to the patterning). This is Homologous patterning at work in the arms,
forceful and bounding.
Pianists II and IV use strict
LH/RH alternation: LRLRLRLRLR etc.
Their patterning is Homolateral.
The juxtaposition of patterns here
the forcefully expressive, almost impulsive Homologous patterning of Pianos I and III and the propulsive, somewhat mechanistic version of Homolateral patterning in II and IV helps to
establish the signal ferocity of Les Noces at its very first notes.
HOMOLOGOUS AND
HOMOLATERAL MUSICAL
ORGANIZATION
For a pianist or a percussionist,
Linked Homologous Strike patterns always involve the simultaneous sounding
of impulses by LH and RH:
The forcefully
expressive,
almost impulsive
Homologous
patterning helps
to establish the
signal ferocity of
Les Noces at its
very first notes.
12
also imply an answering note in the LH. That implication of a LH answer can be enough to suggest a
Contralateral tossing of accents between lines.
Thus, the musical phrase endings that most surely
preserve Homolateral conditions are on the beat.
A related concept is developed in Musical
Organization and the Evolutionary Origins of Human
Movement. There, an analogy is posited between
species of counterpoint and the strike sequences
typical of different neurological patterns. Generally,
unresolved dissonances, that in species writing produce expectation of consonant resolution, correspond
well to accented strikes in one hand that might be
expected to be answered by the other hand. In this
analogy, Contralateral Strike organization occurs as a
kind of 4th species syncopation: an accented strike
that may be tied over to the next beat, while notes
in another part sound against it.
13
Here is a gait pattern that typically would be produced with Contralateral locomotion a forward-pointing
lower limb counterbalanced (at the initial leap on the first beat) by an opposite
forward-pointing upper limb:
However, if two hands on a drum produce the sound of this movement pattern, the consistency of accents in the
RH will keep the hands differentiated
CONTRALATERAL MUSICAL
ORGANIZATION
14
Contralateral
patterning
produces a
different kind
of flow than
Homolateral.
It is more
complex,
nuanced and
perhaps more
magical.
Ex. 5: Bach, J.S., Fugue XXI, Well-Tempered Clavier, Bk. I, m. 1-8
15
In fact, practically any syncopation emerging from L/R alternation involves contralateral coordination between the hands. When one hand delays
the anticipated accented answer to a
previous strike, or a hand creates asymmetry by striking unexpectedly, contralaterality occurs.
APPLICATIONS OF
MOVEMENT-PATTERN
MUSICAL ORGANIZATION
The work of dance musicians requires visceral response to movement.
With some physical experimentation
and observation, musicians can learn to
quickly recognize neurological pattern
expression in movement and thus expand the range of their reactions.
Whether a musician chooses to accompany specific movement-patterns in a
dancer with music of the same pattern
expression, or that of a contrasting pattern, consistent, highly individuated
movement-music compounds result.
Suppose movement with a high
degree of Homologous content is accompanied by music that also has a high
degree of Homologous conDance musicians
tent. The convercan learn to
sation between
quickly recognize
the two mediums
tends to be that
neurological
of definitive, depattern expression
clarative, often
in movement and
forceful, partners.
Homologous
thus expand the
musical
expresrange of their
sion, through the
reactions.
arms and hands,
may be subtle in
touch and placement, but it is on the
whole more purposeful than tentative.
Homologous movement and Homologous music may parry, explode, bound,
or bind together in primal gestures.
However, if movement or music should
transition into Homolateral organization, the quality of the movement/music
relationship will instantly change. A
foreground/back-ground relationship
may result.
Although the following illustration of Homologous/Homolateral
and
16
appearances in specific textural combinations. This article, the briefest of introductions to musical organization
The new termiexpressive of evolutionary movenology proposed
ment patterns, is
here can be used
the starting point
in musical
of an inquiry that I
hope other dance
improvisations,
musicians will join.
compositions,
Dance muand analyses.
sicians have access
to collaborators
skilled in movement experimentation and observation.
They may also have, because of their associations and because of what they have
learned in collaboration, a sharper
awareness of their own physicality. Thus
dance musicians are uniquely qualified
to help map relationships among the
patterns, create an awareness of their
functions, and pioneer their use in improvisation, composition, and other musical projects.
Bibliography
Developmental Movement images used by permission of Contact Editions. Infant, reptile and
amphibian images drawn by Janice Geller.
18
20
Claudio Monteverdi, Madrigals, Book VIII (Madrigali Guerrieri et Amorosi), ed. G.F. Malipiero (New
York: Dover, 1991) xvii-xviii
21
22
23
Bibliography
Albright, Richard, Golden Calves: The Role
of Dance in Opera, from the Proceedings of
SOUND MOVES: An International Conference on Music and Dance (London: Roehampton Univer-sity, 2005)
http://www.roehampton.ac.uk/soundmoves/S
oundMovesConference2005_
Arnold, Denis, Monteverdi, rev. T. Carter
(London:J.M. Dent & Sons, 1990)
The Monteverdi Companion, eds Denis Arnold
and Nigel Fortune (New York: W.W. Norton,
1968, Au, Susan, Ballet and Modern Dance
(New York: Thames and Hudson, 1988)
Arbeau, Thoinot, Orchesography, trans.
Mary Stewart Evans (New York: Dover, 1967)
Carter, Tim, Monteverdis Musical Theatre
(New Haven and London: Yale University
Press, 2002)
Chafe, Eric, Monteverdis Tonal Language
(New York: Schirmer, 1992)
Cohen, Selma Jeanne, Dance as a Theatre
Art: Source Readings in Dance History from
1581 to the Present (Princeton: Dance Horizons, 1974)
Fenlon, Ian and Carter, Tim (eds), Con che
soavit: Studies in Italian Opera, Song, and
Dance, 1580-1740, (Oxford: Clarendon Press,
1995)
Gal, Hans, ed. The Musicians World (New
York: Arco, 1966)
Gordon, Bonnie, Monteverdi's Unruly Women: The Power of Song in Early Modern
I t a l y(Cambridge: Cambridge University
Press, 2005)
Horst, Louis, Pre-Classic Dance Forms
(Princeton: Dance Horizons, 1987)
Kirstein, Lincoln, Dance: A Short History of
Classic Theatrical Dancing (Princeton:
Dance Horizons, 1987)
24
25
TECHNOLOGY
Using Interactive
Computer Applications
to Integrate the Arts
and the Artists
in Music and Dance
By John Toenjes
One of my interests as a musician
in dance is in blurring the division between
musician and dancer. This desire is an
expression of an aesthetic that seeks to
integrate the art forms of music and
dance as tightly
as possible into
One of my interests
one whole, which
is to integrate
means that permusic and dance
formers cannot
be accurately
into one whole
identified as eiwhich means that
ther musician or
performers can not
dancer, but they
are performing
be identified as
both functions at
either musician or
the same time, or
at least both
dancer, but are
functions at difperforming both
ferent times in
functions
the same dance.
On a compositional level, this means that the structure of the music and its sonic expression is integral to the course of the choreography, and vice-versa. In several of
my collaborations I have either reversed
roles and danced while the dancer
plays music, or made music by stomping
on amplified boxes while appearing as
equal partner with the dancers onstage. I
have experimented with looping structures of music and choreography,
wherein decisions made about the timing and number of those loops has a di26
27
30
Five Perspectives on
Bringing Electronics into
Dance Class
Aesthetic Considerations
As musicians interpreting the
movement material presented in class
we react within a range of aesthetic responses. Essentially, we view the quality,
rhythm, mood, character, and phrasing
of a movement combination and bring
that to life through sound; which helps
to bring yet another dimension to the
movement. This is achieved by either:
Using a Laptop as an
Instrument in a Dance
Technique Class
By Robert Kaplan
Introduction
Dancers dancing to live music in
a technique class is a natural activity for
many of us. As musicians in dance we
provide music for people to dance to.
But what happens when you feel low on
ideas and creativity? After a certain
amount of time we all need to stimulate
our imagination and find new directions
whether by playing in different keys,
changing instruments, playing piano
and percussion
together, playing
in
different
In many ways
styles, bringing
introducing the
in new music
laptop into my
the list goes on.
Ive noarray of
ticed times when
instruments for
dancers would
respond differclass has reduced
ently to drums
my experience level
over piano; or
to that of a
when two or
more musicians
beginner, which is
playing together
very refreshing.
change the nature of the class. I
recently decided to try something totally
different.
Noticing the students response to
drums over piano and my own personal
need to bring something new to my approach, I decided to expand my range of
sounds when playing class by using a
laptop computer as an instrument. This
33
Practical Concerns
Perhaps the first order of business
is to talk with the instructor to see if
they are open to
the idea. It lends
itself to several
Ive discovered
types of teaching
there is no
styles: from pulsesubstitute to
oriented extended
warm-ups, atmostaking the time to
pheric textures and
browse through
arrhythmic enviyour loop librarronments, to any
metric combinies creating a
ation that is given
new, select group
with enough countof sounds that can
in to set a taptempo. Also, a disbe quickly and
cussion of starting
easily accessed.
and stopping combinations is helpful.
Without this quickly becoming a
technical rehash of the Live reference
manual, lets try to keep things as general as possible. The concepts can then
be applied to any other software/hardware you might find yourself
using. What are some practical concerns
that might be universally applied to any
approach to using computer technology
in a dance class?
Creating Pallets
Begin by creating a new pallet, or
set, that becomes your master clip location. As you browse through your loop
libraries, bring in only the ones you are
drawn to. The vast majority of rhythmic
loops in commercially available loop libraries are in common time, in four-beat
phrases. While there are scattered triple
meters, some compound meters, and a
few odd meters of 5 or 7, the only way to
get any good grooves going in these odd
meters it to fish them out of the library
pool, and edit them to 5 or 7-beat loops.
This type of editing in Ableton Live is so
quick and easy that, if necessary, it can
be done during a combination in class
without missing a beat.
Remember that this new set will
become your collection area of edited
clips, your goal is to build an assortment
of rhythmic, percussion grooves in timbral order, that can be navigated vertically and horizontally on the computer
screen to allow you to play in any meter
without stopping. All of your meters will
then be contained in this one set, which
makes this Loop Central of sorts, and it
will be huge and cumbersome to work
in. Once completed you could always do
a SAVE AS a specific work session and
make adjustments to fit specific needs,
without losing your original collection.
All you would do is click on the topmost
scene, which places your cursor in that
scene, then go up to the Insert menu at
the top of the screen and click INSERT
the edited clip is your access to that edited sound. If you want to have quick
and easy access to your clips in odd meters, you have to access them as clips
from the set they were created in.
One more
technical observation related to It is also possible to
Live . Ive found play clips in different
that when building loops in odd meters simultanemeters
a n d ously. Polymeters
bringing loops can be easily and
into Live as clips,
the time signa- gradually explored
ture needs to be to add unexpected
either 4/4 or 8/4. syncopation to a
Even if Im ultimately going to combination.
be making the
clip a 7-beat loop, if you audition the
loop and drag it into the set at 7/4, the
tempo will not be in sync with the metronome. But if you bring it in at 4/4 or
8/4, everything lines up just right. The
markers for 8/4 make it easier to see
where to end the loop when creating 7beat loops.
before the combination began. My current set is organized with several horizontal scenes in meters of 3, several in 4,
several in 5, several in 7, and several
non-metered.
As long as scenes are homogenous only contain their own metric
type you can
access all of the
If the teacher and
clips in one scene
simultaneously.
musician remain
This works great
in relationship
when you want to
throughout the
create big textural contrasts all
class, the
within the same
non-human
meter. It is also
aspects of the
possible to play
clips in different
computer can be a
meters simultapositive addition
neously. Polyto the mix.
meters can be
easily and gradually explored to add unexpected syncopation to a combination. This is done by
slowly adding different metric groups
into a scene, or group of clips that are
playing like adding a duple clip into
an environment of triple clips. This is
best done gradually so the dancers are
not distracted by the combination of meters.
Tap-tempos
Whenever any type of sequencer
or external clock is used as an instrument in a dance technique class you
have to figure out how to quickly, and
gracefully, adjust tempo when either the
teachers count-in is too fast or too slow,
or if your initial tap-in tempo is not accurate. It is helpful if you are working
with a teacher who is comfortable providing accurate count-in preparations for
combinations. I found that I needed an
8-count preparation in order to use the
last 4-counts as a tap-tempo (Live averages the 4 taps to create the tempo).
There were times that I would begin
playing piano or drums and then do the
tap-tempo on the computer after the
combination had already started. This is
another area that needs practice and
open communication between the instructor and musician. There are problems though if the tempo of the movement is supposed to speed up or slow
down. This is more difficult to seamlessly render with the computer in an
improvisational setting.
Polyrhythms
Another discovery I made accidentally in class happened when the
teacher demonstrated something in a
moderate seven. Since the count was
slow enough, more like a half note, I
found a shaker loop in 4/4. This created a
duple feeling of half notes against my
live drumming in seven. So, duple ostinati that dont emphasize a strong 4-beat
cycle can be used to provide more drive
to irregular meters. Even a clear and
simple Half-Time drum set loop in 4/4
can be used while playing over it in 5/4,
using the quarter note as the common
pulse.
A similar thing can be done to
spice up a combination in 4/4. Play
Overdubbing
For combinations that are repeated over and over and over, Live lets
you to record an arrangement, which is
easily done by clicking the record button. The moment you begin activating
clips anything you do is recorded . You
could then either overdub more layers
on subsequent repeats of the combina36
37
Four Decades of
Electronics in Class
By Jon Scoville
In the late 1970's, I purchased a
Buchla modular synthesizer, a formidable beast of a sound-making machine,
and way beyond the means of a parttime teacher and full-time accompanist.
But I had just written a book, Sound Designs, on the design and construction of
acoustic instruments and I was looking
to expand my sonic palette. So I took the
publisher's advance and bought into the
world of electronica. A world
rich with musical
The flexibility to be
possibilities but
able to step
fraught with the
through a number
perils of hums,
buzzes,
poor
of different
grounding, slow
instruments makes
response time
the DrumKAT
and electrical
curses.
perfect for the
At
the
needs of a modern
time I was acdance class if one
companying two
2-hour technique
is willing to put the
classes followed
time in to program
by a 3-hour comp/
it.
improv class and
the seven-hour
stint was as tiring on my ears as it was
on my body. So I lugged the Buchla into
the studio and used it to create slowly
modulating atmospheres for the creative
classes. It was a wonderful adjunct to the
work, but there were so many technical
hassles, along with the 80 lb weight of
the thing that I soon dropped it from my
armamentarium, and went back to using
an array of percussion instruments
many of which I had built specifically
for use in dance classes and my amplified acoustic guitar which I ran through
38
40
By Neil Dunn
I first began using electronics in dance
class during the fall 2003 semester after
the long awaited purchase of a DrumKAT. I had
been an acousI still put accents in
tic player for
years with a
the same places
usual instruduring the combinamentation of
tions, add and
three congas,
djembe, hi-hat
subtract layers from
and
bass
the musical texture in
drum, piano,
the same way. . .
and toys.
With the inWhat did change the
troduction of
most dramatically
only a couple
was the range of my
electronic devices into the
palette. Electronic
dance class,
music added a musical
my palette of
richness and versatilsounds and
textures grew
ity not present before.
immensely
and immediately. In this article I will discuss some
of these devices and how I use them,
how I program the controllers for basic
use, how I set up sounds, and basics on
getting started before taking the applications to dance class.
As a graduate student at the University of Arizona, I played in a group,
Crosstalk , which pioneered the electronic percussion ensemble, a group that
uses a variety of instruments, all of
which are MIDI percussion controllers.
It was an obvious choice for me to take
this technology to dance class as I could
clearly see the possibilities and versatility. I play primarily for modern classes
41
Gear
The minimum requirements for
my electronic setup include MIDI controllers, a USB MIDI interface, and my
laptop computer with a sequencing/sampling program and a sound system. I typically play through the sound
systems in the studios, connecting to the
mixer using an audio interface (or the
headphone jack on my computer).
My MIDI controllers include a
DrumKAT and a 4-octave MIDI keyboard. The DrumKAT is a MIDI percussion controller, which has no built-in
sounds and must
be used with an
One of the great
external sound
bank. The main
features of the
playing surface
DrumKAT is that it
has ten individual
can play notes
pads which altogether
are
from different
shaped like a cat
MIDI channels
(to me it looks
more like Mickey
simultaneously,
Mouse.)
The
meaning you can
DrumKAT can be
use a wide variety
played
with
sticks, mallets, or
of sounds from
even fingers for a
different patches.
softer touch. The
pads are simply
numbered 1 10. The DrumKAT also
has ports for up to 9 external triggers,
which function the same way as the
pads. During play mode, each pad can
play in a variety of ways: a single pitch
or sound, a combination or pitches
(chord), a sequence of alternating notes,
or a sequence of timed delays. In addition, each pad can be set up to play from
any of the 16 MIDI channels and
through left or right MIDI outputs,
which expands the capabilities of the instrument dramatically. The DrumKAT
is set up to use different sets of parameters for the playing surface, kits. My
DrumKAT can use up to 30 kits. Moving
42
Using Reason
For sound selection and sequencing, I use Reason 3.0, a sequencing program that includes samplers, synthesizers, a loop player, many effects devices,
and a drum machine. I use a laptop to
run this program (which is compatible
for Mac or Windows). With this program
I am able to use any of the thousands of
sounds included with Reason. However,
I often prefer to use my own samples,
which I made at home with basic recording software. I used percussion instruments, kitchen items, and household objects. This program also contains a sequencer, I often prefer to use
which allows you my own samples,
to record and
which I made at
play using loops.
The main home with basic
device I use in recording software.
Reason for dance
class is the NN- I used percussion
XT Advanced instruments, kitchen
Sampler. In addi- items, and household
tion to loading
existing patches objects.
such as piano,
vibes, or bass, I like to create percussion
patches with different groups of sounds
for different exercises. To accomplish
this, I load individual sounds into the
sampler and set them up so each sound
is played on a separate pitch, similar to
how percussion patches are set up on
most MIDI keyboards. I set up the
pitches to correspond with the parameters on the DrumKAT pads including
MIDI channel and pitch. If I am not
happy with the way the sounds are laid
out on the DrumKAT, I can easily
change the pitch on the Reason sampler
to change which sounds play through
the pads. This is quicker than reprogramming the pads. It is also easy to
layer sounds in this sequencer; simply
connect two or more sounds to one
pitch. One of my favorite features of
this sampler is the ease of editing the
parameters (amplitude, pitch, duration,
43
ready to play. Then maximize the remote editor on the NN-XT. Note that
directly under the keyboard diagram in
the samplers display window is a horizontal bar showing the pitch range at
which the controller will play notes.
Dragging the ends of the bar can change
the range from one note to many.
To create patches, first create a
new NN-XT sampler. After opening the
remote editor, right click (ctrl-click on
Mac) in the display window. From the
menu select add zone. This will give
you an empty sample location or zone.
Repeat as needed. Double-click the zone
reading **No Sample** and browse for
NN-XT Samples or samples from other
sources . To save the patch, click the
save icon next to the Patch Name (Init
Patch) and select the location. Creating
and saving patches in other devices uses
the same procedure.
In the remote editor is a knob
called Root this is the master tune for
the samples. You can use it to change
one or all samples. When you change
the root tuning, a marker moves across
the keyboard diagram in the editor window. If you load samples that dont
sound quite right, chances are the root
tuning is off. Simply move the root
tuner marker to correspond with the
pitch the note plays on.
My stock Reason files for dance
class are set up with several (duplicate)
samplers. The availability of multiple
samplers gives me the freedom to have
as many different instrument set-ups as I
want. Switching patches between exercises is as easy as a click of the mouse. I
can also easily switch between Kits on
the DrumKAT set up to play different
samplers corresponding to different
MIDI channels.
45
Beat keeping,
sound alteration, and
improvisational liberty
through music technology
or how I have semiretired my ankle bells.
By Keith Fleming
Once a dancer I didnt recognize
asked me if I was the fellow who
strapped a tambourine to his foot. While
this wasnt exactly how I
wanted to be
Technology has
identified, I had
changed my
to admit that I
accompaniment in so
was the guy.
Now, with the
many different
superior alterways, that the
natives of techall-acoustic-nonology, I rarely
use the foot
technology-involved
tambourine or
classes are mainly
those
ankle
reserved for those
bells or any
other simple
days when the
acoustic beat
weather is so nice we
keeping sounds
decide to have class
anymore. Occasionally I will
outside on the lawn.
use them when
I want those
specific sounds and the musical effect
they produce, like instrumental simplicity or natural ritual, but because of technology, I now have hundreds of excellent beat keeping alternatives, each with
specific sounds and a musical effect that
more closely matches the variety of music I am trying to make. Back then only
some type of foot stomping could help
me with the beat keeping function when
I played, especially when I was playing
some new instrument, which I may have
48
chestrations are wonderful. Now keyboard players can almost instantly sound
like they play all the instruments in the
world. OK, maybe not instantly. Some
simplification, alteration or elimination
of normal left hand piano work is required to get a good and convincing accordion or guitar or bassoon.
Another great feature of some
synthesizers, including the Technics
Digital Ensemble SX-PR900 which is
about a decade old and in both of our
main studios, is to allow you to mix two
sounds not on separate parts of the
keyboard, but actually intertwining their
waveforms,
where each key
plays both instruments to- With many of the
gether. For ex- classroom triples I
ample, the ma- sequence my own
rimba/harp mix
has the attack rhythms on the fly,
and
h o l l o w which has a slightly
overtones of the steeper learning curve
marimba but it
has the sustain than choosing a preand decay of set, especially when
the harp, creat- you consider how fast
ing an amazing
and
u n i q u e you may have to cresound. Since ate one.
you can generally control the
volume of each instruments influence
in the blend, the variety and subtlety of
combinations is astounding.
This is also an example of how
improving technology generally increases interesting features, because earlier versions of the Technics Digital Ensemble did not have this capability.
Texas Womans University has two of
these earlier versions, which are now in
studios with a slightly lower priority.
1. Choosing a Sound
The first step in using technology, choosing instruments or sounds, is
completely natural for me and for my
style of accompaniment, where timbre
is elevated and its relationship with
dance dynamics and effort are emphasized. I have always tried to bring as
many instruments as possible into the
studio and to use them in as many different ways with as many different articulations as I could muster.
Having the large array of beautifully sampled instruments and craftily
created sounds that are available in most
modern synthesizers, enables a level of
aural variety previously impossible. Most
of the instrumental sounds are quite
good now and getting better as the technology of recording, sampling and replicating sounds improves. This wasnt always the case. Only in the last fifteen
years have synthetic or sampled sounds
been very compelling to the ear, widely
available on most synthesizers, really
easy to use and inexpensive. If you have
not tried pizzicato strings or a solo oboe
sound in even your most traditional ballet class you and your dancers have a
lot to look forward to.
Frequently modern keyboards
have the capability of splitting, with
variable split points that allow different
instruments or sounds in different parts
of the keyboard, making, for example, a
duet of upright bass in the left hand and
jazz guitar in the right hand possible all
at once. So not only are there more single sounds to choose, but the endless
combinations of sounds, the possible or-
ory, of preset rhythms, technology affords us a rather expansive array of alternatives. Many of these rhythm presets
are geared toward commercial music
(pop, rock, funk, Latin, jazz, house, big
band, easy listening, classical etc.) and
consequently have about ten times more
duple meters than triple meters, even
including the compounded triples. Consequently, with many of the classroom
triples I sequence my own rhythms on
the fly, which has
a slightly steeper
learning curve
This idea that you
than choosing a
may want to compreset, especially
pensate in some
when you consider how fast
ways increasing
you may have to
or altering some
create one. Of
qualities of music
course, you can
create and store
in your acoustic
sequences in adaccompaniment to
vance. Sequencoffset some of the
ing
complex
r
h
y
t
h
m
s
or
weaknesses of the
rhythmic changapplication of
es can be difficurrent technology
cult, probably requiring time out should be careside class. Frefully considered.
quently, however,
rhythmic properties like adjusting or altering the tempo,
are as simple as a tap feature, which allows you to tap the tempo on some key
and the synthesizer adjusts everything to
your tap rate.
For me, the main value in these
preset rhythms is for movement across
the floor at the end of class when multiple voices and increased energy are
called upon. Or sometimes when an instructor really wants some continuous
rhythm for an extraordinary length of
time like over fifteen minutes and
you know in advance that this may happen. Many synthesizers have multiple
variations of each specific rhythm, which
can be changed instantly. Using these
rhythmic variations to demarcate
Some creative ideas, like this one developed from technological possibilities,
have turned around and influenced my
acoustic ideas for making dance music!
Though many of the accompaniment presets give you a large and
3. Using Accompaniment Presets
comprehensive sound that may seem
The third step in my use of techbalky or unwieldy, do not disregard
nology is choosing the method of
them wholesale. By looking inside these
rhythmic presentation and representachamber accompaniments you might be
tion. Many synthesizers have chamber
surprised at how many of the single inaccompaniment patterns that include
strument accompaniment patterns that
the percussion part, a bass part, and two
they contain are functional even outside
or three other instruments in the acthe original realm of the rhythm they
companiment like guitar, piano, and
represent. For instance, the guitar acsaxophone. These accompaniment parts
companiment in a standard funk or jazz
change considerably with each rhythm
rhythm might be perfect for tendus and
and even within the simple variations of
really impart a completely different muone rhythm. For example,
sical sense than funk or jazz,
while all four of the polka
especially with creative imrhythms use the same clunky Creative ideas, like
provisation over that part. Or
tuba line as the bass instru- this one developed
the saxophone accompaniment, two of eight reggae from technological
ment in a soul rhythm can
rhythms use two bass players
provide the foundation for
simultaneously and there are possibilities, have
trying out some sounds you
three or four distinct reggae turned around and
might rarely have considered,
alternatives. But even the polka influenced my acouslike the overdrive electric
tuba can be useful for creating
guitar.
a Tom Waits or Brave Combo tic ideas for making
Just because the
sound.
manufacturer and all their
dance music!
Some synthesizers allow
music consultants thought
you to remix this accompamusicians would use the
niment by changing the volume of the
technology this way or that way doesnt
parts or eliminating them. This means
mean you have to limit yourself to those
sometimes you can eliminate the drums
alternatives. Unfortunately, those manuand just use the guitar and bass parts or
facturers and consultants rarely consider
just the preset vibraphone accompaniwhat we dance musicians might need or
ment of some jazz rhythm, or, as I menhow we might use some feature betioned, just the clunky tuba from the
cause we are rare birds, even among
polka. In an extended exercise, somemusicians. I love creatively using the
times I will start by muting all the parts
technology in these unintended ways.
except the bass pattern of a rhythm and
Though the learning curve on
subsequently add or unmute the other
some of these features might seem
preset accompaniment parts, the percussteep, like becoming familiar enough
sion, guitar, etc. as the exercise develops
with each accompaniment pattern that
and repeats phrases all while I am imyou know which ones have good rhythm
provising over the rhythm with one of
guitar parts, it really depends on your
my hands. This adds a unique textural
classroom situation and your relationdevelopment to the accompaniment that
ship with the instructors and dancers.
subtly urges the dancers to increase the
Even if you just listened to and investiscope and dynamics of their movement.
gated one accompaniment pattern every
51
4. Altering Waveforms
The fourth step in my use of
technology is altering the waveforms by
adding the effects of flanging or distortion, or changing the space of the
sound by adding
reverb or delay. On
Lately I have been
the Technics it is
mixing altered
possible to precisely control the
waveforms with
percentage
of
their originals
waveform alteration for each effect
using the mix of
from zero to one
two instruments.
hundred. In many
These ghostly
ways this is like an
advanced applicaunison sounds
tion of choosing
have an almost
instruments and
ineffable effect on
sounds or instrumental articulamy creativity.
tion. Most of these
standard waveform
alterations were created by the fabulous
electric guitar players of the last three
generations and they are just fun to use,
especially if the class needs to rock out.
If you havent heard a moderately
flanged French horn with a weak single
delay and rich dark reverb try it. It
could inspire you to make music you
never considered.
Lately I have been mixing altered
waveforms with their originals using the
52
6. Amplification
The sixth step in my use of technology is about delivery. Our main
modern dance studio now has four amplifiers. A Roland Micro Cube amplifier,
a small Fender R.A.D. guitar amplifier, a
Crate KX-50 amplifier with two inputs;
one attached to a Roland XP-50 synthesizer (I station it on the right hand side
of the Technics so I am boxed in on one
side and yes, sometimes I try to play two
synthesizers at once, wishing I was Joe
Zawinul.) The Crate is also ready for any
other electric instruments (guitar, bass,
Roland Handsonic) that my student musicians or I bring to the studio. We also
have an Anchor Audio MPA 5000 amplifier on a stand attached to the Technics
keyboard, which also has its own set of
built-in speakers. Arranging and changing the position and direction of these
amplifiers in the space alters the sonic
environment and also allows us to use
them for different functions. Sometimes
I point them at the wall right behind the
musicians and get indirect and reflective
sound. Sometimes when we have a student drummer at the kit, he needs to
really hear the synthetic bass or the
rhythmic pattern, so the Anchor Audio
becomes a monitor. Sometimes when
the dancers are crossing the floor diagonally a speaker in the corner pushes
them in ways they like to be pushed!
Having amplifiers, a microphone
Conclusion
The happy result of these technologies is that now even more musicians of all sorts (singers, wind players,
guitarists etc.) are creating remarkable
sounds both in the classroom and on the
stage. However, when I became a dedicated dance musician nearly thirty years
ago, pianists dominated dance accompaniment (like most of the 20th century)
53
This fall, Jennifer Keller, a modern dancer from Slippery Rock University, performed at Texas Womans University with a remote headset microphone whose sound was then processed
through a pre-programmed Lexicon effects generator which we plugged into
our mixing board. She was accompanying herself with her amplified and altered breath. Because I was running the
sound in our studio performance space,
she allowed me to creatively add a combination of effects (pong delay and
flanging), which were available on the
Lexicon, to part of her dance. She also
allowed me to fade out the amplified
and altered sound to reveal just the
natural acoustic sound of her manipulated breathing.
Earlier the same day in part of
her master class, I accompanied the
dancers with a microphone using amplified, phased and delayed phonetic word
sounds all with the quietness of whispering. The next day after Jennifers performance I too was breathing into the
microphone. However, I was glad she
introduced the amplified breathing idea
to the faculty and students.
As technology continues to influence a greater and greater amount of
the music around us, it also provides us
the opportunity to creatively use it in the
dance class. I am hoping that by the end
of the semester I will be permanently
using one of our old mixing boards in
the dance studio to facilitate the increasing amount of technological alternatives
and combinations my student musicians
and I want to use.
Though I know I will always feel
dissatisfied if I dont have some quiet
and intimate acoustic moments in class
(like my classical guitar or even simply
the unadulterated synthetic grand piano
sound on the Technics,) especially in reflective and internally directed dance
moments, I realize that I must also present some sound and energy and rich
textural complexity that transcends any
of the acoustic instruments I play or any
55
56
On Dance Class
Accompaniment with
the Computer
By Chris Peck
Technique
My hardware setup for accompanying dance classes is:
- A modest Macintosh Laptop (not the
newest or the fastest)
- A 16-Fader MIDI Controller (Doepfer
Pocket Fader)
- A powered speaker (JBL Eon 10)
Background
My interest in collaboration with
dance has developed in parallel with my
interest in electro-acoustic improvised
music, so there has never been a question of how to integrate technology.
Computers, samplers, and speakers were
my tools of
choice from the
start. The first
As far as I know I
time I sat in on a
am the only
dance class I
brought two CD
musician at ADF
players, a reverb
who can fit all of
box, and a microtheir gear on a
phone. I play a
few real inbicycle, and Im
struments too (I
quite macho about
grew up playing
it.
flute and guitar)
but these have
only more recently begun to factor back
into my work.
I came to class accompaniment
through my collaborations with choreographers. While I was a student at the
University of Michigan under the mentorship of Stephen Rush I began making
pieces with student choreographers, and
I had made at least one half evening and
one full evening dance score before I so
much as set foot in a technique class.
My class accompaniment practice grew
out of an interest in deepening my understanding of the field, of educating
myself to be a better collaborator.
Most of my class accompaniment
experience has been as a member of the
music faculty at American Dance Festival so I've had experience playing for a
wide variety of teachers. I have also ac-
My process of
developing a
strategy for
playing dance
classes has
been intertwined with an
iterative software design
process where
I am both the
sole developer
and the sole
user.
Screenshot 1: Patterns
Screenshot 1: Patterns
58
My interest
as a composer for
dance is to
create music
that works in
counterpoint
with or even
against the
dance rather
than in a
purely supportive role
Screenshot 2: Samples
59
Screenshot 3: Loops
60
2:15
1:55
6:03
2:43
3:22
3:56
5:00
4:03
4:16
3:06
4:24
3:06
1:49
4:50
3:36
3:51
*John Osburn is a student and musician/apprentice of Keith Fleming in the Dance Department at Texas
Womans University. He is featured playing the drums and the Roland Handsonic HPD10.
61