An introduction
About
Ensemble 50:50 Liverpool aims to provide an opportunity for musicians to come together and create new music collaboratively.
The ensemble seeks to have at least eight players or more.
The musicians will have the freedom to improvise and create music collectively, starting with a "blank canvas."
This approach is inspired by the music system "System 50:50 for improvisers."
If you are unfamiliar with this system, please check out the feedback tab to learn more about it and what musicians have to say.
For additional information on "System 50:50 for improvisers," click here "
There is no short term or long term aim to explore contemporary compositional methods, e.g. Conduction, Cobra, graphic scores.
Frequency:
The current schedule for 2024 is monthly.
The long term aim is for weekly sessions. Note there are online session too, making this part of a hybrid practice.
Please visit the Merseyside section of this website, find an event article listed as Ensemble 50:50 Liverpool , this article should list the next event date and future event dates. CLICK HERE
To join
There is no formal audition. New members are required to attend one performance as a member of the audience, then we have a discussion.
To express an interest, simply visit the registration tab displayed within this article, and follow actions expressed in the text.
Interested, but improvisation scares you
Relax, simply attend, listen, reflect on what you have heard then have a chat.
The Players
Here is a list of musicians who may currently appear in and with the Ensemble 50:50 Liverpool - , .
- ROBIN HARTWELL
- MARTIN HACKETT [ Oxford improvisers ]
- PHIL MORTON, accidents and treatments
- CLAYTON JACKSON, (Lancaster) electronics
- TIM WISE, reeds, Salford.
- SIMON ROSS, Turntables, Macclesfield.
Lapsed or floating members of the Ensemble - Liverpool: Julia Cadman, John Pearson, Adam Roberts, Yashashwi Sharma, Kristina Warren ( returned to the USA), PHIL LUCKING, trumpets, PHIL HARGREAVES, RICHARD HARDING, guitar, DAVID CANTER, bass clarinet, ROB THORPE, guitar (Manchester), ANDREW LESLIE HOOKER, no input mixer (Pandy Tudor), SABINE KAUSMALL, guitar, PAUL PIGNON [ Stockholm! ], IAN SIMPSON, guitar, PETER JONES, guitar, ALEX SCOTT, trombone,
About System 50:50
The goal is
- to encourage music created in the moment by those present.
- to encourage music created by ensembles of three to thirty musicians. to support large ensembles to play free.
- to explore the possibilities of freedom and improvisation and their limitations.
The approach is
- To shape the sound with silence,
- To shape the ensemble size moment by moment.,
- To empower the musicians with agency over their contribution.
- To shape the music through active listening.
Description
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.
System 50:50 for improvisers - Click the link for a detailed description and history.
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
Feedback
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
To express an interest, to request more information, to communicate, please go to the tab above called registration and complete the form therein.
Phil Morton
Future options
Links with other projects
This project has links to events in the regions, near and far, in a room and online on Zoom.
More information should be available at the telematic section of this website: CLICK HERE
For a quick overview of all related events, both online and in-person, check out the newsfeed: CLICK HERE TO VIEW THE NEWSFEED.
Rehearsals, concerts and festivals
As of June 2024, the sessions produced by this project are considered open rehearsals. As the ensemble grows, these sessions may evolve into more formal performances resembling concerts. The ensemble may serve as a support act or the main act, and eventually may hold concerts outside of Liverpool. Exciting opportunities lie ahead.
Registration Form
To express an interest, to request more information, to communicate, please complete the form below
Guidance:
- In the field: Name of the event etc, please enter, Ensemble 50:50 Liverpool
- In the field:Location, please enter Liverpool
- In the field: add your name to the contact list, it is a good idea to ad yess - otherwise nothing will happen.
- In the comments section it helps if you add a short paragraph about yourself and the instrument(s) you play.
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