Resonancia | R–e–s–o–n–a–n–c

Resonancia.

A score for one or more musicians and their instruments in any interior room

Duration between 20' and 50'. At any give time: listen 80% and play 20%.

Please use this score as an extension of score#1 (if your room could speak…) or

score#2 (if this instrument could speak…). So I kindly suggest you first to do either

one of those scores and when you get to the recording part of 10', you do that in

a Resonancia way! Enjoy!

Note for score:

Resonancia is a way of relating through sound with the space and silence of a room.

The first time I explored this idea was in the Summer of 2002, when I was doing my

first personal musical creation RRAUW: a search into different qualities of silence.

Together with Barre Phillips, Erik Vermeulen and Jean-Yves Evrard we set up in the

middle of an empty art deco swimming pool in Vorst (Brussels), at that time used as

a performative artist-run space lesbains::connective.

As opposed to the score #4 Browsing in which you create the audio scene by having

an imaginary walk through that scene, here the idea is to play way less, as indicated

on top of the score.

Please follow that guideline as it will most probably get you to become aware of some

aspects of playing music that very often would seem like automatic responses to

sounds, and often driven by some kind of horror vacui, a fear of the vast emptiness

that we counter by all sorts of activities.

So it also goes in the practice of music.

So again, as with the Browsing score, this score departs from, rests on a way of

being with a room and your instrument, already touched uponin score #1 and #2.

This time again, we go deeper into the how to be with sound, and playing music,

once you get there, to that place of connection.

So again, it could be a good idea, probably not ;), to do score #1 or #2 before you

do this one as a preparation, and then for the end part of the score move to this one

and record or play (recording is not a necessity, yet it can help as a way of notation

of your trajectory and a way of sharing with me/us/others).

Bring your instrument or have it set up beforehand in any place of the room that you’d

like it to be, or you’d like yourself to be with your instrument.

Especially when your instrument is a grand piano or a drum set or other not so

moveable instrument.

——————————————————————————————————————————

NOW

Any given day

Step into the room from any outside of it.

Close the door.

Yet you can open a window.

As if you say hello.

Explore the room with your body, voice and ears

Move around

See

Look around

Hear around

Sit still

When more than one participant, make a simple connection with the others,

see each other.

Move towards or away or parallel to the others in the room

Come near, take a distance.

——————————————————————————————————————————NOW

Is the outside coming in?

The rumble of the street

voices

children playing on the sidewalk?

The sounds inside the building?

Doors, corridors, air conditioning

A fridge, a radiator

How does the inside of the room feel? Listen? Look around.

Let it touch you and be with it.

The atmosphere in this inside-outside room

Feel it

Move with and in it

As an option, not a must, as in a piece of the plot wherein

you will end up eventually touching your instrument,

because the score sets a scene…

Any time you feel is a good time for it

As in

——————————————————————————————————————————NOW

Go to your instrument

Make a sound

With your instrument

As if talking to this atmosphere

A dialogue with the outside sounds, or the inside layers

of content you become aware of.

Let the sound resonate in the room.

——————————————————————————————————————————

NOW

Go back to no sound.

No touch.

And just listen to what happened when you interacted

with your instrument in the room.

Let the room speak to you through the resonant space

created by the energy of the sound, the way the room

resonates with that and the way you resonate with all of that.

Like a tennis ball that you throw against a wall in order for

it to get back to you so you can catch it an throw again.

So you make sounds that always go back to the no sound,

as drops of water in an ocean.

——————————————————————————————————————————

NOW

And also

——————————————————————————————————————————

MEANWHILE

Check in with yourself.

How does it feel inside of your body?

Are you feeling energized or lazy?

Do you have anything to say or rather do you want do nothing really

but just being there eating the atmosphere, becoming, being part of it,

rather than adding to it?

That’s possible too.

Not playing the instrument is an option as well.

A way of relating to it.

As long as you relate to it.

When doing this score together with others:

Do the other participants inspire you to react to them.

With sound and your instrument?

Don’t resist reacting to their sounds and musical ideas and shapes

Yet

Remember the play 20% of the time, listen 80% of the time rule.

When and if you forget, just and simply as if browsing around,

go back to less sound, more space.

——————————————————————————————————————————