On Wednesday December 15th, 2016, I had Graham class, where my teacher gave my class a combination across the floor that was almost the same as the exercise that was given two days previously. The main difference between the two combinations was that she took out the first 4 of 8 prances that were in the original combination. Somehow this minor change threw the whole class off the timing of the exercise. Not only did everyone revert back to dancing the full 8 prances, but we also had strange pauses in the exercise and were never quite consistent with the phrasing of the exercise.
This experience taught me that it's important to not rely on anyone else to have the counts or the steps of an exercise, but to be confident in what I pick up directly from the teacher or choreographer who gives the step. Even if it looks wrong to my classmates, I think it's more important to be accurate with the choreography and musical phrasing.
Friday, December 16, 2016
Music Project Part 2
On Friday, December 9th, 2016, my Music class finished presenting our final projects for the semester. All in all, we were very successful in attributing a movement for each note in pitch of the soloist of the song that we chose. In addition to this, everyone in the class did a good job incorporating the song quality and culture into the movement quality and vocabulary. For example, some Hawaiian songs were chosen for some people's projects, and the movement looked related to Polynesian dancing, or at least like it could be seen on a beach in Hawaii.
One thing I thought the dancers of many projects could have worked on was the clarity of the stillness in the silence as it related to the music. For me, there was a lot of slight movement during the silence of many of my peers projects. Maybe this is do to the fact that the dancers didn't take the time to get to know their partner's music as well as they could have, but I would have liked to see more precision in this area overall.
More than anything else, I had fun watching and participating in this final project!
One thing I thought the dancers of many projects could have worked on was the clarity of the stillness in the silence as it related to the music. For me, there was a lot of slight movement during the silence of many of my peers projects. Maybe this is do to the fact that the dancers didn't take the time to get to know their partner's music as well as they could have, but I would have liked to see more precision in this area overall.
More than anything else, I had fun watching and participating in this final project!
Saturday, December 3, 2016
Music Project
On Thursday, December 1, 2016, students of my Music class were finishing preparations for their projects for the semester. The assignment of the project was to choreograph a 30 second to 2 minute piece to a song from a culture that we (the choreographer) are unfamiliar with. The song was to have a a solo voice, and the movement of the piece should directly reflected the rhythm and quality of that voice.
When choreographing my piece, I found that the assignment was more challenging than I anticipated. I am not very comfortable with my composition skills, and because I set high expectations for myself and am very self critical about my work, I over edit my work, which is stifling to my creative flow.
A part from this, the music I chose was very complicated. The song by the Egyptian pop artist Ehab Tawfik and the title is called Tettraga Feya (Arabic: ايهاب توفيق - تترجى فيا) which means "Begging Me" in English. At first I decided to work on the first verse of the song combined with the chorus, but although the song is in 4/4, the beginning doesn't have a fixed meter, but rather the accompaniment just plays along in response to the vocals. However, I changed the part of the song I wanted to choreograph to a verse later in the song where the rhythm was more distinct and where I felt there was more contrast in dynamics in the music. But even then, the is a point in the selection where there is a measure of 6 before it continues in four...
I've concluded that my song is complicated. But I enjoy this complication because it keeps the listener refreshed with spontaneity.
Graham in 14 Counts
On Wednesday November 23, 2016, I had Graham class. Our combination for the end of the class was a length 14 measure waltz. Musically, there was a point in the combination where my class wanted to take a full 2 measures to complete a fall to the side. This tendency however threw the whole combination off of the set 14 measures that were allotted. I noticed this after a few times going across the floor, and afterwards allowed myself 1 measure for every step of the combination, which put me on perfect timing. This experience taught me that sometimes, to make up time, you have to keep moving through the steps and onto the next!
Sunday, November 20, 2016
Dynamics
In Music class, Friday, November 18th, 2016, my class and I learned about dynamics. Dynamics help create the quality and texture in one's dancing. A dancer who gives equal, even, and steady rhythm to their movement can appear flat and boring. Dynamics help make dancing exciting! For example, in a ballet frappé combination, instead of taking the same amount of time striking the foot out as bring the Cecchetti flexed foot into coupé, a seasoned dancers would strike sooner and keep let in dégagé until the very last moment (until the next frappé). This kind of dynamic gives the illusion of speed and power. Another dynamic is one of continuous or legato movement, where one move seamlessly flows into the next. This creates this constantly evolving effect that can be quite captivating.
I believe that dynamics are a great tool to communicate different feelings in any given movement phrase that any good dance artist would pay great attention to.
I believe that dynamics are a great tool to communicate different feelings in any given movement phrase that any good dance artist would pay great attention to.
Preparation for Five Four Swings
On Thursday, November 10th, 2016, my Horton class learned a combination with counts in eleven twos (twenty-two counts) called Preparation for Five Four Swings. This combination was very different musically from the standard 8, 16, or any other count phrase that is evenly divisible by four. What helped me keep my timing with this combination was making place markers on specific parts of the choreography. Knowing to release-swing on 1, to strike on 4, and to battement on 9 made me stay on the music so that I wasn't rushing to catch the "1" of the next phrase. This also made it easier for me to continue the movement without any awkward stops and pauses in the phrase.
Monday, November 14, 2016
Fast, Medium, and Slow
In Music class, Friday November 4th, 2016, my classmates did an exercise where our teacher played three different speeds of music on the piano, fast, medium, and slow, and instructed us to improv movement to match the same speed quality. After completing this exercise, my classmates and I noticed that there was generally one speed that we preferred more than the others.
Our teacher told us that our internal clock or tempo will determine what speed we prefer. The closer the music is to our internal clock, the more we will like the speed of the music. He then told us that we can change our internal clock before we dance. This change should occur, for example, during the the introduction of a ballet combination at the barre, or when an instructor gives the class before the musician accompanies the dancers.
Since this class, consciously changing my internal clock before I dance has benefitted me a lot.
I no longer feel rushed or early while dancing and I feel like my dancing has quality, dynamics, and fullness.
Our teacher told us that our internal clock or tempo will determine what speed we prefer. The closer the music is to our internal clock, the more we will like the speed of the music. He then told us that we can change our internal clock before we dance. This change should occur, for example, during the the introduction of a ballet combination at the barre, or when an instructor gives the class before the musician accompanies the dancers.
Since this class, consciously changing my internal clock before I dance has benefitted me a lot.
I no longer feel rushed or early while dancing and I feel like my dancing has quality, dynamics, and fullness.
Friday, October 28, 2016
Horton in 20 Counts
On Thursday, October 27, 2016, my Horton class had a substitue teacher. This teacher gave us a twenty count phrase. Dance phrases with counts that are made up of multiples of 4 are generally easier for dancers to learn because most popularly danced music can be counted evenly by 4.
After our teacher for the day taught the class the combination, I asked him if he wanted each group to start after the previous group had danced the first 16 counts of movement. The teacher responded that we should wait until the entire phrase of 20 counts was finished before the next group started. This, for me, gave the last 4 count counts of the phrase an impression of being a "tag" or ending statement, where the previous 16 count would be the body of the choreography. It wasn't difficult for me to maintain good timing in this case.
After our teacher for the day taught the class the combination, I asked him if he wanted each group to start after the previous group had danced the first 16 counts of movement. The teacher responded that we should wait until the entire phrase of 20 counts was finished before the next group started. This, for me, gave the last 4 count counts of the phrase an impression of being a "tag" or ending statement, where the previous 16 count would be the body of the choreography. It wasn't difficult for me to maintain good timing in this case.
Syncopated Sissones
In Graham class on Monday, October 17th, 2016, my class was given a sissone combination. For those reading this blog entry who don't know what a sissone is, it is a jump done in ballet from two legs and landing on one leg. In the air, the legs open in this jump. In ballet, the jump is always done "turned-out," with the legs rotated to the sides. Because we were in a modern class, we did our sissones "parallel," with our legs facing front.
Our teacher gave us a specific rhythm and quantity of jumps for this combination. Each jump was a count long, each jump alternating sides. This combination has a definite change in meter (from 4 counts, to 3 counts).
These were the counts: 1. sissone right 2. sissone left 3. sissone right 4. hold 1. sissone left 2. sissone right 3. sissone left. 4. hold. (shift in meter) 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold.
This change in meter created a different dynamic that made the combination unexpected and exciting. I think this dynamic change made the combination exciting to dance as well, so I was quick to pick up the rhythm of the movement.
Our teacher gave us a specific rhythm and quantity of jumps for this combination. Each jump was a count long, each jump alternating sides. This combination has a definite change in meter (from 4 counts, to 3 counts).
These were the counts: 1. sissone right 2. sissone left 3. sissone right 4. hold 1. sissone left 2. sissone right 3. sissone left. 4. hold. (shift in meter) 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold 1. sissone right 2. sissone left 3. hold.
This change in meter created a different dynamic that made the combination unexpected and exciting. I think this dynamic change made the combination exciting to dance as well, so I was quick to pick up the rhythm of the movement.
Thursday, October 27, 2016
Movement, Impetus, and Counting
In Music Class, October 14th, 2016, my classmates and I were instructed to create a short phrase of movement, all stemming from the impetus of one body part and with consistent timing. After completing this, we partnered up and and were instructed to first find a steady rhythm that complimented our partner's movement, and then to set counts to the movement phrase.
Because we didn't set counts when we created our phrases, if completed successfully, there wouldn't be a consistent meter to the counts. The counts we used would more accurately describe the phrase's accents and emphasis. This would be similar to the way Horton Fortification counts are not in a set meter.
Because we didn't set counts when we created our phrases, if completed successfully, there wouldn't be a consistent meter to the counts. The counts we used would more accurately describe the phrase's accents and emphasis. This would be similar to the way Horton Fortification counts are not in a set meter.
Friday, October 7, 2016
Fall for Dance 2016
On Thursday, October 6th, 2016, I went to see the Fall for Dance Festival performance at The New York City Center. Among the many companies who performed that evening was Jessica Lang Dance, The Royal Ballet Flanders, Alvin Ailey American Dance Theater, and Alina Cojocaru, Friedemann Vogel, Johan Kobborg, and The Sarasota Ballet.
During Cojocaru's, Vogel's, Kobborg, and The Sarasota Ballet's performance of Marguerite and Armand, their was a live pianist who accompanied the ballet. The ballet tells the story of Marguerite and Armand's love affair before Marguerite falls ill and dies.
There is a moment in the ballet when Cojocaru is lying on a fainting couch and coughing, about to succumb to her illness. I'm not certain what the key signature was, or even if there was one during this time, although the pianist had sheet music that he played from the entire ballet. In any case, the pianist was playing the coughs of Cojocaru in this scene. As a dancer, Cojocaru didn't actually make the noise of the cough, but merely opened her mouth and did the contracting motion that looked like coughing. But I thought it was amazing how in sync the pianist a Cojocaru were at this time, as if she were coughing piano notes. It was unlike anything I'd ever seen.
In addition to this, the phrasing of the music was also made to evoke, not just the sad and dark feeling of someone dying from an illness, but also the rhythm patterns and pitches of actual coughing. It gave the ballet a very realistic, eery feeling that made it come alive.
During Cojocaru's, Vogel's, Kobborg, and The Sarasota Ballet's performance of Marguerite and Armand, their was a live pianist who accompanied the ballet. The ballet tells the story of Marguerite and Armand's love affair before Marguerite falls ill and dies.
There is a moment in the ballet when Cojocaru is lying on a fainting couch and coughing, about to succumb to her illness. I'm not certain what the key signature was, or even if there was one during this time, although the pianist had sheet music that he played from the entire ballet. In any case, the pianist was playing the coughs of Cojocaru in this scene. As a dancer, Cojocaru didn't actually make the noise of the cough, but merely opened her mouth and did the contracting motion that looked like coughing. But I thought it was amazing how in sync the pianist a Cojocaru were at this time, as if she were coughing piano notes. It was unlike anything I'd ever seen.
In addition to this, the phrasing of the music was also made to evoke, not just the sad and dark feeling of someone dying from an illness, but also the rhythm patterns and pitches of actual coughing. It gave the ballet a very realistic, eery feeling that made it come alive.
How many pirouettes do I have time for?
On Tuesday, September 27th, 2016, I had Men's Ballet Class with Peter Brandenhoff. In the class we had a pirouette combination that included three sets of en dehors turns.
If this makes any sense, this were the steps of the combination: Tendu a la seconde (1), fifth position preparation (2), pirouette (3,4), plié fourth position preparation, pirouette ending coupé (5,6), pas de bourrée (7,8), two battements a la seconde closing back (1,2), failli rélèvé attitude (3,4), fourth position preparation (5), pirouette (6,7,8).
Mr. Brandenhoff explained that the last pirouette should not have less turns than the first two pirouettes for the simple fact that the last pirouette is allotted twice the amount of music. I know that this is often a strategic choreographic choice to save more turns for the end of a variation in order to leave a good last impression.
This was particularly challenging because Mr. Brandenhoff also requested of of us to spend less time in the preparation positions (plié) before the turn than the time spent in the turn. So we were encouraged to pirouette as soon as possible, and sustain the turn until the next step.
All in all, this combination required particular musical attention in order to manipulate the length of the balance in the pirouettes.
If this makes any sense, this were the steps of the combination: Tendu a la seconde (1), fifth position preparation (2), pirouette (3,4), plié fourth position preparation, pirouette ending coupé (5,6), pas de bourrée (7,8), two battements a la seconde closing back (1,2), failli rélèvé attitude (3,4), fourth position preparation (5), pirouette (6,7,8).
Mr. Brandenhoff explained that the last pirouette should not have less turns than the first two pirouettes for the simple fact that the last pirouette is allotted twice the amount of music. I know that this is often a strategic choreographic choice to save more turns for the end of a variation in order to leave a good last impression.
This was particularly challenging because Mr. Brandenhoff also requested of of us to spend less time in the preparation positions (plié) before the turn than the time spent in the turn. So we were encouraged to pirouette as soon as possible, and sustain the turn until the next step.
All in all, this combination required particular musical attention in order to manipulate the length of the balance in the pirouettes.
Thursday, September 22, 2016
Post Roof Breaking Ceremony (Celebrate with a Tango)
It's the end of week three!!!
This week has been extremely eventful. From performing at the Roof Breaking Ceremony, to seeing Misty Copeland in person for the first time, this week has definitely been a week to remember.
In terms of music, my Composition class stood out in particular. Last week, our teacher gave us an assignment of creating a phrase of movement. This week, she gave us various challenges in time manipulation of the phrase (i.e. slowing it down to fit a certain time-frame, and speeding up the phrase to fit a different time-frame).
The most musically interesting challenge of all was to apply a tango rhythm to our phrase. We were asked to use our phrase and accent the "1" and "4" count in 4 measures of 4 counts. In the last measure (the 4th measure) we had to accent all 4 counts in the measure and continue the whole pattern on the "1" of the next measure. All together, it can be read like "1..41..41..41234"(repeat)
Note: It's strange to describe rhythm and music via writing and journaling, etc. Various musical textures and qualities make sense in my head, but it's hard to put in writing for others to understand. I'm not sure if I'm describing rhythms adequately enough for my audience. But I also believe that it's a good challenge for me. I know that adequate description of music demonstrates my understanding of different kinds of music textures and rhythms. For that, I will power through!
Thursday, September 15, 2016
Ten Triplets
On Wednesday, September 14, 2016, I had Graham class with Ms. Christine Dakin. Toward the end of class, she created a phrase for us to take across the floor. It was a triplet (in three quarter time/ meter). The complete phrase filled ten measures, which wasn't typical for the students in the class. I was excited about the irregularity of the timing, so I quickly applied the musicality of the movement to the timing and meter of the phrasing. It was very appealing to me. I felt how the phrasing of the music with the dance was continuous and inevitable. This helped me create smooth transitions when repeating the phrase. It was very satisfying to dance!
Tuesday, September 13, 2016
Rocka My Soul: First Week Back at The Ailey School
Enfin!!!
I've finally figured out how I'm going to journal my thoughts and experiences of music through dance for my Music class at The Ailey School!!!
I knew that I didn't want to keep a journal, because it would be too arduous for me to take out the pages neatly with the journals I already have, and I'm not of a mind to purchase a new one. In addition to this, loose- leaf pages can be difficult to keep track of in general.
All that was left for me was some form of "digital journaling," (is that a thing???) and voilà! The idea of this blog came fully formed.
I'm not sure exactly how long journal entries are required to be for my music class, and I intend to write these blog posts as I would write an informal journal, documenting my observations as I would actually speak them in person, so I hope my blog fulfills the requirements for the course. Anyway, for this first post I am going to discuss my rehearsal experiences for the Roof Breaking Event!
For those who are just stumbling upon this blog, The Ailey Studios, home of Alvin Ailey American Dance Theater, Ailey II, and The Ailey School, is undergoing expansive construction. To celebrate this new chapter of the Ailey Legacy, some of the students from the school, including myself, have been selected to perform excerpts from Mr. Ailey's legendary piece, "Revelations," at a roof breaking event coming up!
Learning parts of "Rocka My Soul In the Bosom of Abraham" has been a big highlight of this experience. The dance itself has a very distinct rhythm that, when married to the music, evokes the lively spirit of the typical, black, baptist church. It's very syncopated, with many different qualities (smooth, sharp, steady, fluid...) that are used to create a regal, soulful, and spiritual experience.
So far, my return to school has been eventful, but taking part of this rehearsal process has made my return particularly special.
I've finally figured out how I'm going to journal my thoughts and experiences of music through dance for my Music class at The Ailey School!!!
I knew that I didn't want to keep a journal, because it would be too arduous for me to take out the pages neatly with the journals I already have, and I'm not of a mind to purchase a new one. In addition to this, loose- leaf pages can be difficult to keep track of in general.
All that was left for me was some form of "digital journaling," (is that a thing???) and voilà! The idea of this blog came fully formed.
I'm not sure exactly how long journal entries are required to be for my music class, and I intend to write these blog posts as I would write an informal journal, documenting my observations as I would actually speak them in person, so I hope my blog fulfills the requirements for the course. Anyway, for this first post I am going to discuss my rehearsal experiences for the Roof Breaking Event!
For those who are just stumbling upon this blog, The Ailey Studios, home of Alvin Ailey American Dance Theater, Ailey II, and The Ailey School, is undergoing expansive construction. To celebrate this new chapter of the Ailey Legacy, some of the students from the school, including myself, have been selected to perform excerpts from Mr. Ailey's legendary piece, "Revelations," at a roof breaking event coming up!
Learning parts of "Rocka My Soul In the Bosom of Abraham" has been a big highlight of this experience. The dance itself has a very distinct rhythm that, when married to the music, evokes the lively spirit of the typical, black, baptist church. It's very syncopated, with many different qualities (smooth, sharp, steady, fluid...) that are used to create a regal, soulful, and spiritual experience.
So far, my return to school has been eventful, but taking part of this rehearsal process has made my return particularly special.
Subscribe to:
Posts (Atom)