This week's task was to create another short sketch composition, but at a new location which must be outdoors.
I chose the fountains in Victoria Square, in the centre of Hull.
As the above video shows, the fountains are made of 77 jets arranged in two overlapping circles. They can be lit up in a variety of colours and are programmed to perform sequences of movements.
My idea, is for a sketch for two performers of any instrument or voice (although for practicality's sake, it would probably be best to avoid any instrument which is particularly susceptable to water damage, or which isn't easily portable).
Each performer stands in one of the circles and both respond to the programming of the fountain, such that they are almost 'accompanying' it.
The first performer responds to the colour of the lights, which can be any colour of the rainbow (red, orage, yellow, green, blue, purple), white or off. When the lights are off, performer 1 makes no sound. When the lights are on, the pitch of the sound they create responds to the colour of each jet. They must follow the pattern of the lights in a clockwise direction, but may start at any point in the circle.
So, for example, one of the possible colour states is for every jet to be lit with white light. In this instance, the performer will be free to express the music in any way they wish, but must remain on one pitch.
The colours are assigned as:
No light - rest
White - tonic
Red - supertonic
Orange - mediant
Yellow - subdominant
Green - dominant
Blue - submediant
Purple - leading note
However, the key in which these notes reside is the choice of the performer. Each time the lighting 'state' changes (for example, changing from all jets being white, to a sequence of white, red, blue), performer 1 must select a new key. They may choose any major, minor or other mode, as long as it has eight notes in its scale - so, for example, a pentatonic would not be a valid choice.
To demonstrate this, here is a photo of the fountain in one random lighting state:
Starting at any point in the photo, the performer may see the sequence: yellow, red, blue, purple, orange, green. Let us say, also, that they have chosen the key D major, they may choose to play:
But this is just one option of an almost infinite number.
Whilst the first performer responds to the colour of the fountains, the second responds to its movements. And whilst the first performer responds with pitch, the second responds with rhythm and dynamics.
The movements of the fountain, like the lights, have several states - and since the states of movement and light change simultaeneously, we can see these as movements of a larger piece.
Performer 2 sets the tone of each movement. The dynamic range of this movement corresponds to the height of the jets. If they remain still, then the dynamic will remian constant, if they move it is likely to be more changeable. The taller the jets, the louder the movement.
In addition, when the jets move, they can be seen as almost metronomic, and the second performer is free to use this movement to set a beat, or to otherwise interpret tempo, time signature and rhythm.
The performers should use the knowledge that they are focusing on particular areas, to work together. For example, performer 1 should listen to performer 2, and attempt to blend with their dynamics, tempo and time signature. Meanwhile performer 2 should take the key and mode chosen by performer 1 into account. This doesn't mean the two performers should necessarily conform to each other, but they should at least be aware of each other's actions and make informed decisions on whether to conform or not.
The piece ends when the state changes to one that releases fog from the centre of each circle. Since the performers stand within one circle each, it literally forces them to leave the performance space. If the fog state doesn't trigger before the performers wish to stop playing, then they are free to step out of the circles at any point. Once both performers and left the circles, the piece ends.
I found no pattern to the sequences of states the fountains cycle through - although I believe there must be one - so the random, chance element of this piece is very strong, and a challenge for the performers to overcome, but one which lends itself to the generally improvisatory nature of the piece. It should present just as much an adventure for the performers as for the audience.
If you have seen the fountain, you will know that some of the states would likely be very confusing for one or other performer. Some states include rapid movement and change, which would be difficult to keep up with. If the performance does begin to break down in such states, then it should simply resume when the state changes to something more manageable. The aim of the piece is not necessarily to create a new form of art, but to express the art of the fountains in a new medium. It should therefore be at times beautiful, but at other times boring, chaotic or confusing. It cannot be wrong, because it is simply a representation of the fountain.
I chose the fountains in Victoria Square, in the centre of Hull.
As the above video shows, the fountains are made of 77 jets arranged in two overlapping circles. They can be lit up in a variety of colours and are programmed to perform sequences of movements.
My idea, is for a sketch for two performers of any instrument or voice (although for practicality's sake, it would probably be best to avoid any instrument which is particularly susceptable to water damage, or which isn't easily portable).
Each performer stands in one of the circles and both respond to the programming of the fountain, such that they are almost 'accompanying' it.
The first performer responds to the colour of the lights, which can be any colour of the rainbow (red, orage, yellow, green, blue, purple), white or off. When the lights are off, performer 1 makes no sound. When the lights are on, the pitch of the sound they create responds to the colour of each jet. They must follow the pattern of the lights in a clockwise direction, but may start at any point in the circle.
So, for example, one of the possible colour states is for every jet to be lit with white light. In this instance, the performer will be free to express the music in any way they wish, but must remain on one pitch.
The colours are assigned as:
No light - rest
White - tonic
Red - supertonic
Orange - mediant
Yellow - subdominant
Green - dominant
Blue - submediant
Purple - leading note
However, the key in which these notes reside is the choice of the performer. Each time the lighting 'state' changes (for example, changing from all jets being white, to a sequence of white, red, blue), performer 1 must select a new key. They may choose any major, minor or other mode, as long as it has eight notes in its scale - so, for example, a pentatonic would not be a valid choice.
To demonstrate this, here is a photo of the fountain in one random lighting state:
Starting at any point in the photo, the performer may see the sequence: yellow, red, blue, purple, orange, green. Let us say, also, that they have chosen the key D major, they may choose to play:
Whilst the first performer responds to the colour of the fountains, the second responds to its movements. And whilst the first performer responds with pitch, the second responds with rhythm and dynamics.
The movements of the fountain, like the lights, have several states - and since the states of movement and light change simultaeneously, we can see these as movements of a larger piece.
Performer 2 sets the tone of each movement. The dynamic range of this movement corresponds to the height of the jets. If they remain still, then the dynamic will remian constant, if they move it is likely to be more changeable. The taller the jets, the louder the movement.
In addition, when the jets move, they can be seen as almost metronomic, and the second performer is free to use this movement to set a beat, or to otherwise interpret tempo, time signature and rhythm.
The performers should use the knowledge that they are focusing on particular areas, to work together. For example, performer 1 should listen to performer 2, and attempt to blend with their dynamics, tempo and time signature. Meanwhile performer 2 should take the key and mode chosen by performer 1 into account. This doesn't mean the two performers should necessarily conform to each other, but they should at least be aware of each other's actions and make informed decisions on whether to conform or not.
The piece ends when the state changes to one that releases fog from the centre of each circle. Since the performers stand within one circle each, it literally forces them to leave the performance space. If the fog state doesn't trigger before the performers wish to stop playing, then they are free to step out of the circles at any point. Once both performers and left the circles, the piece ends.
I found no pattern to the sequences of states the fountains cycle through - although I believe there must be one - so the random, chance element of this piece is very strong, and a challenge for the performers to overcome, but one which lends itself to the generally improvisatory nature of the piece. It should present just as much an adventure for the performers as for the audience.
If you have seen the fountain, you will know that some of the states would likely be very confusing for one or other performer. Some states include rapid movement and change, which would be difficult to keep up with. If the performance does begin to break down in such states, then it should simply resume when the state changes to something more manageable. The aim of the piece is not necessarily to create a new form of art, but to express the art of the fountains in a new medium. It should therefore be at times beautiful, but at other times boring, chaotic or confusing. It cannot be wrong, because it is simply a representation of the fountain.
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