Carl Bergstrøm-Nielsen Frameworks (2002) A collection of pieces for improvising, variable ensemble (Approx. 3-12 players. Durations ranging from approx. one minute to any duration ad lib.)
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Carl Bergstrøm-Nielsen Frameworks (2002) A collection of pieces for improvising, variable ensemble (Approx. 3-12 players. Durations ranging from approx. one minute to any duration ad lib.)
PREFACE When an open process of improvising music turns into a set task such as coming together on specific kinds of sounds, on making pauses and precise shifts, a lot is happening with the attention of players to each other. This could provoke new inspiration – and maybe the pre-shaping could also catalyze new developments. Frameworks are based on the idea of giving just some few, but strategic, points of reference within flexibly defined sequences of elements. It is hoped that this can function in a “non-invasive” way for players, that is, without taking away the concentration from their own creative process. Plan as little as possible in advance and use no conducting. Please observe the explanation of common symbols stated before the pieces. “Ad lib.” means “free”. The pieces originated in the context of the Intuitive Music Group, Copenhagen, of which I am a member. Below are some explanations and comments to the individual pieces made on the background of experiences with the pieces in various ensembles. Carl Bergstrøm-Nielsen
Frameworks 1: COMMENT THE PREVIOUS SECTION LOUDLY: players are individually to react in sound (loudly) to their impression of the music of the previous section. STOP SUDDENLY TOGETHER: make the music stop suddenly. This is possible through common attention and maybe additionally eye-contact, maybe through a “shared not playing on” after a common, short rest. – Everybody need not be playing at the time of stopping, but fade-outs and the like are definitely to be avoided. Remember, no conducting, the decision must take place collectively. The graphics inside the first and last elements are to be interpreted in a spontaneous way by players. Frameworks 2: EAGERLY, AGGRESSIVELY and other adjectives connected to breaks: imagine the breaks having that character... maybe it’s just a matter of rhythm! (If more needs to be said, you might also try to imagine that the character influences how the previous element and how the next begins. This is not to say that the characters need to become audible at all in the sounding elements – once next element is reached, it has its own way of being). This piece can turn out relatively short and may be repeated ad lib. after a break ad lib. Frameworks 3: STOP SUDDENLY TOGETHER: see Frameworks 1. COMMON START: as common as possible. Frameworks 4: There should of course be no pre-arrangement concerning whether someone chooses to play the last element or not.
Frameworks 5: THIS ELEMENT IS OMITTED IN CASE FIRST MUSICIAN TO PLAY CHOOSES SO: obviously, if first musician plays forte when the next element says piano (or fast when the next element says slow), everybody else must also jump to the next one. If, by accident, some later musician plays forte (or fast) in spite of a piano (or slow) beginning (or in still other possible cases of confusion), instant collective intuition must apply! This piece can turn out relatively short and may be repeated ad lib. after a break ad lib. Frameworks 6: The “tzk prr...” element could consist of vocal sounds (consonants ad lib., the written ones are just suggestions). The last element starts with the kind of elements chosen by the first one to play but goes on ad lib. thereafter. Frameworks 7: START ONE BY ONE: take your time as you like. Frameworks 8: YES! YES! and NO! NO!: You don’t need to say these words. Break in the middle: “Very short” or “very long” are the only alternatives. It is difficult to make the break very short, but it should not automatically become very long every time. Frameworks 9: TRY TO PLAY THE PREVIOUS SECTION AGAIN...: like “telling the story again” but in a free form, stating again some characteristics remembered. Frameworks 10: START ONE BY ONE...: in case of “large time intervals” take your time when entering/ ending, let the difference make itself heard – and be fast to join in case of “small time intervals”.