In order to outline the process of the trio performance we decided to interpret the score individually and write a brief practice-led comment on this underneath each video.
Cameron Solo Performance
Developing the Action Sound project has expanded my improvisational behaviors as a performer. The concepts presented in this project have helped me develop an awareness of the sound environment and performance relationships. Becoming familiar with the piece For 1, 2, or 3 people by Christian Wolff was a challenge, however very rewarding. My interpretation of the piece is based on exploring unique combinations of timbre and delicacy with the piano. I intended to perform minimally and responsively – in regards to the sound environment. Critically listening to musical data in the performance space allows a sense of opportunity to stimulate, diffuse, or manipulate the sound in some way. Practicing the Christian Wolff piece allowed me to develop a sense of awareness when engaging with the sound environment.
Tina Solo Performance
If I play solo then I usually have to engage with my Self and the environment differently than being part of a group. It often leads to a transcendental state of mind where subconsciously your embodied tool becomes an expressive catalyst of that specific state. For this particular performance the tools were embodied within the learned vocabulary by analysing Wolff. Prior playing I had already decided on what vocabulary to use to limit myself in the space and time of the performance. The vocabulary chosen was noise (i.e. breath), which can be varied in timbre by different fingerings or mouth positions and multiphonics, which in relation to Wolff can be analysed as the pitched material that can be slurred from one event to the other. This constraint vocabulary offered me to make the space my ‘object of desire’, which in this particular case was the complete fixation on a ticking clock on the walls. This static rhythm was something I was trying to engage with, penetrate, play with, ignore until I reached a point where the clock ticking was equally embodied to me than my sax (i.e. when I didn’t realise it anymore), that’s when I stopped.
Daniele Solo Performance
My solo-performance was mainly based on the same principles as the group-performance. I tried to react to subtle impulses that derived from my environment on the one hand, but also tried to implement techniques that were typically represented within Wolff’s score, such as timbre changes and the use of wood and metal in order to create noises on the other hand. I also tried to implement little leitmotifs (minor seconds) that helped finding a compromise between the provided freedom and an alternate understanding of structure. I found that to be quite useful in order to provide at least a bit of orientation. That may help a traditional listener to get an ideal access to Wolff’s kind of music, as I myself had a bit of difficulties to understand this concept in the beginning.
Link to DMX Control Max Project File (.zip)