Difference between revisions of "System 50:50 for improvisers"

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Introduction This page starts here

Early years - how it started.

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

First situation. In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement 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 does the egg timer offer a solution to the problem?

The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.

This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.

Second situation This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.

In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.

add image of egg timer

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.

Centrifuge,Preston and the great leap forwards 2016

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.

The idea (or composition framework) was strong the delivery method was week. How to move forwards? how to use research to bring an upgrade to the delivery method. His response was cathartic!

• Book a venue (very expensive) for a public concert called Centrifuge
• Arrange for up to twenty improvisers / musicians to be present. The best he could get.
• Plan this event 3 months in advance
• Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group. The place and space for this was UCLan University Preston - more citation to follow'

Break through - a new device

A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075 This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.

Initial feedback and responses

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"

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 (Macclesfield), Blank Canvas Octet - 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` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context

It gives me permission to do nothing A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session

Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`. Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.

Set list designs - the gift that just keeps on giving

citation to follow

• The basic design
• Rotation - citation to follow
• Reversal
• Reversal - split groups
• Size of the ensemble
  • Four, Eight, Sixteen, Twenty four - citation to follow
• Duration - citation to follow
• Number of players.
• Errors
• Vandalism
• Half the sky - citation to follow
• Ensemble sound mass
• A series of pieces that make up a collection

The Pandemic and the zoom revolution

citation to follow

Discography

citation to follow

Examples of ensembles and groups

citation to follow

In the workshop & the ensemble study

citation to follow

Projects

citation to follow

Ensemble sound mass and density

citation to follow

External web pages & Social media links

citation to follow

Philosophy, claims and revolutions

citation to follow