System 50:50 for improvisers

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Introduction

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Early years - how it started.

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

• In a workshop environment 2008 Phil Morton was working with 14 musicians on the topic of free improvisation in music. His observation was: small group exercises are good but it reduces active playing time for the participants, though one solution is that the fourteen musicians play together as an ensemble in piece his judgement was that the musicians did not have the shared skills or experience to play free improvised music as a large ensemble. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? the egg timer introduced tacet/feeplay timing so the musicians present could mange their ensemble output, with sound and silence. The musicians retain agency over their contribution and the inroduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
• In 1998 Phil Morton started to use adapted egg timers for personal use only. This was his response to the behaviour that is over-playing or playing too much because in the land of free improvisation there is nothing to stop you except your sensitivities and awareness, or alternatively you can be swept along by the excesses of others. More on this later

What happened next

Between 2008 and 2016 this concept remained dormant . The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants. The egg timer had low usage in Phillip Morton's personal practice.

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Introduction

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