about Oxford Improvisers

The process of performing music from a fully notated score, something that tells the player exactly what notes to play and how to play them is historically a relatively new phenomenon, and is still unknown in many cultures today. Free Music reconnects with the very roots of music-making wherein, a player may use any instrument to make music without the strictures of a formal composition. What results is an expression of that particular instrument, the skill and imagination of the player and the effects of the moment. It is in this respect the purest form of music making.

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http://oxfordimprovisers.com/about/

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 Free Music

The process of performing music from a fully notated score, something that tells the player exactly what notes to play and how to play them is historically a relatively new phenomenon, and is still unknown in many cultures today. Free Music reconnects with the very roots of music-making wherein, a player may use any instrument to make music without the strictures of a formal composition. What results is an expression of that particular instrument, the skill and imagination of the player and the effects of the moment. It is in this respect the purest form of music making.

Today free music is an internationally respected approach that embraces players from the worlds of jazz, classical, experimental and ethnic music. By putting aside the rules and structures that enclose so many forms of music including improvisation allows players of widely differing training and technical ability to come together and to create extraordinarily diverse and rich music ‘in the moment’.

Oxford Improvisers welcomes all players of all levels who are interested in exploring new paths to music. Players can come to the Monday evening sessions freely and without any prior experience. We ask only that you have an open mind, a willingness to listen, to respond and to enjoy.

Although free music does not restrict a player to specific keys, time signatures or harmonic structures there are numerous approaches and strategies that are used to draw the best out of a specific group of players. Oxford Improvisers is constantly seeking to further the boundaries of music-making through its weekly open sessions, monthly concerts, workshops and large scale events and collaborations.
Oxford Improvisers

Oxford Improvisers was established in 2001 to continue the work begun by the Oxford Improvisers’ Co-operative in the 1980s with the following objectives:

1. To promote the performance of improvised music in the Oxford area primarily by musicians living, studying and working in the area. This performance can freely improvised; or by integration with graphic, textual and other minimally notated scores.1

2. To promote a culture of listening and meaningful dialogue in the performance of improvised music. Improvised music is not seen as a display of isolated virtuosic ability but as a sensitive intercommunication between individuals and audience. We do not see music as a universal language, but a set of agreed methods of communication by a particular community. We aim to facilitate interaction between the many different musical cultures that co-exist within Oxford.

The Oxford Improvisers membership includes over 30 musicians, each of whom contribute uniquely, supporting a broad range of co-existent perspectives. Currently expanding in membership, we always very much welcome new members as well as visiting artists.
Julian Faultless
Since 2001 Oxford Improvisers has staged and promoted nearly 200 events including four Cohesion Festivals and featuring hundreds of musicians, dancers and visual artists of every kind. Details of all these events will be available again on this website soon.

Performances are run by members of the collective and frequently feature visiting and invited practitioners. To raise the standard of local music we also promote concerts by outstanding artists of international stature. Weekly session provide practical experience and training in improvisation. Workshops are run by members of the collective or invited practitioners, usually as part of larger events run by or contributed to by Oxford Improvisers.

Oxford Improvisers work closely with a number of key local organisations, including Oxford Brookes University, Oxford University, The Old Firestation, Oxfringe Festival, Pegausus Theatre, Modern Art Oxford. The organisation has also established an excellent record in attracting funding from various sources including Arts Council England and Oxford City Council.

Operating as a collective, Oxford Improvisers current executive committee are:

Mark Browne – Chair
Jill Elliott – Treasurer
Dan Goren – Secretary
Martin Hackett – Membership Officer

1. Oxford Improvisers are committed to the principles of equal opportunities and eliminating discrimination in every aspect of our work. We strive to ensure that no individual or group is treated more or less favourably than others on grounds of ethnic origin, nationality, age disability, gender, sexual orientation, race or religion

Babble&Squeak

Chris Hill is co-promotes Ensemble 50:50 - London with Phil Morton who lives in Liverpool.
Here are some notes about Chris Hill's babble&Squeak series in London.

Babble&Squeak is an irregular performance forum for the performance of free improvisation and experimental music.
Babble&Squeak celebrates the joyousness and insights free improvisation elicits and the musical challenges of spontaneous composition.

If you interested in taking part in a Babble&Squeak event please contact me, Chris Hill, at This email address is being protected from spambots. You need JavaScript enabled to view it. for future dates.
You can also contact him about Ensemble 50:50 London activities.

Phil Morton (Liverpool:UK) developed this system during a ten year, nay 20 year period. Phil Morton has been active in `free improvisation` as a player, promoter, teacher, since 1998 and as a listener since 1968. He commends this project `to the house` to the genre of free improvisation, as a unique methodology that unpicks the complexity of this music, its sounds, our reactions and emotions using a simple method. Phil Morton's personal belief is that this is a gift that will keep on giving. A bold statement, it maybe a fallacy, or of substance, the research process will explore this and find out. If you would like to be involved, contribute, debate, whether you are local or global please make contact.

Phil Morton
This email address is being protected from spambots. You need JavaScript enabled to view it.

Biography:

https://www.improvisersnetworks.online/wiki/index.php?title=Phil_Morton_(Musician)

The aim is to create music without prior preparation by exploring the possibilities of freedom, improvisation and their limitations. The approach of System 50:50 for improvisers is to shape the sound with silence, to shape the ensemble with tacet and then to empower the musicians with agency. They shape the music through active listening. The System 50:50 approach can be applied to ensembles of any size to achieve* the aim.

The duration of the piece is agreed before the start of the performance..
A performer must play for 50% of the duration of the piece and remain silent for 50% of the duration of the piece
Example

If the duration of the piece is 16 minutes, the performer plays for 8 minutes and is silent for 8 mins. Each player is free to choose when they play and when they are silent within the duration of the piece but they must have a 50/50 balance between playing and being silent. It is expected that each player will improvise their music.
Quick summary using 50:50 ratio

Each player `improvises` for 50% of the piece
Each player is `tacet` for 50% of the piece
The totals are aggregated
Each player/improviser has their own clock and manages their own time
Each player has `agency` over the content they share during the performance.

https://www.improvisersnetworks.online/system-50-50-an-introduction

Delivered by the primary and preferred time management option:

Mechanical chess clocks are required to facilitate the aim of the system. One of the pair of dials is called ‘tacet’ and the other ‘free play’.See image above. Each performer has an individual chess clock to monitor and manage their contribution. The performer plays when the ‘free play’ dial is running down and is silent when the ‘tacet’ dial is running down.

Youtube demonstration, Duration 1 minute Ratio 50:50 or 1:1 Content, is speech, status managed by the rocker (lever): URL LINK

Link to image of an adapted chess clock URL LINK

Selected feedback about system 50:50

Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool

System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well.

Charlie Collins Sheffield

On system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.”

Dan Goren, Oxford Improvisers.

`"It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"

Richard Harding Liverpool.

``Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing`

Jon Aveyard, Lecturer UCLan University England

`It gives me permission to do nothing`

Helen Conning, Liverpool.

It is democratic

Maggie Nicol - West Wales.

I want to buy twelve 50:50 clocks

The Open House online session supports

• Ensemble improvisations made without prior preparation.
• Using Zoom break-out rooms means we can support any number of participants.
• Open access - there is no peer-to-peer review of applicants - all levels of musical experience are welcome.
• You can bring whatever is in your sonic toolbox.
• An online session to support a hybrid working pattern for improvisers.
• It will increase your frequency of playing and ensemble improvisations.

Zoom Supports.

• You do not have to travel to the venue, come rain or shine.
• The participants will come from a more extensive geographical capture.
• A different social, community vibe - you are often face to face with everyone in the room.
• In Zoom, it is a simple process for the host to record a session. The Zoom host can share the recordings to support your interest and development in playing improvised music.

System 50:50 for improvisers supports.

• The shaping of sound with silence
• The shaping of the ensemble with tacet.
• System 50:50 works well on Zoom.

Here is what Simon Ross wrote about System 50:50

System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well. Simon Ross

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