Body Music Workshop: The body’s music !

Accompagnement

Gaspard Herblot

CONTENT

The aim is to provide vocal and rhythmical techniques (articulation, dexterity to spout, phrasing modulation, ragga, skat, sounds of beat box, sound effects, body percussions) and to generate the creativity of the participants in order to allow them to develop their musical spontaneousness during collective compositions.

We will also be able to approach the noisy narration in the perspective to conjugate, if the group desire is felt, these researches to the theatrical, danced or circus art forms.

Physical preparation:
– Relaxation, breathing, invigorating, sonorous and physical massage
– Study of the standing status, of the posture, research of a good anchoring during the sounds projection.

Exploration of the vocal resonances:
– Raising awareness to the different spaces of resonance of the voice in the chest and the nuances in the voices of the head (nasal, cranial, etc.)
– Experimentation of various types of modulations (shaky, jerky, percussive, postures, etc.) and sets of voice deformations.
– Initiation to diphonic singing
– Different tracks to imitate the tones of melodic instruments (copper, guitar, scratchs, etc.)

Exploration of non-vocalized sounds:
– Awakening and awareness of our anatomy, “geographic” pathway of the mouth area, nasal and throat cavity, stretching and contraction of the head’s muscles.

Articulation and vocalization:
– Develop the power, the accuracy and the velocity in fast flows.
– Emit sounds by exhaling and inhaling air.

Movements-sounds correspondence:
– The rhythm in the body, which body gives the rhythm?
– How the dynamic of the movement can reply to the sounds?
– Creation of a character from voices, linking games between gestures and sounds, how does the body give to see the sound?

Exercises and rhythmic games:
– Core work on regularity, awareness of the intermediate spaces of rhythm with body percussions as a tool.
– Experimentation with the change of consciousness that one can have of a rhythmic formula along the length.
– Body engagement, weight in the ground, feeling of support and laterality in rhythmic cycles.
– Binary and ternary time division.

We will use the body and vocal percussions to explore all these notions, we will then have fun with games on the repetition of typed sentences. We will also learn “patterns” of body percussion with which we will play polyrhythmic games.

Technique of Human Beatbox:
– Presentation of the range of sounds commonly used by humanbeatboxers: percussion sounds, bass, trumpet, guitar, scratch, electronic sounds, clicked sounds, rolled, shaken, chucked, sucked…
– Dissociate and associate vocal and non-vocal sounds (How to simultaneously emit mouth and vocal sounds?).
– Manage one’s breathing, emit sounds in apnea, by inhaling and exhaling.
– Rhythm directory: We will practice rhythms that have become some «standards» of the beatbox world.

Collective compositions/ Circles songs:
– Collective musical games, polyrhythmies and complementarity in vocal orchestras.
– Collective improvisation techniques (questions-answers, call-variation, flexible rotating phrase, etc.).
– Composing in group: How do we structure our sound architectures?

The noisy narration:
– Journey in the musical imagination with and without the search for musicality.
– What are the sounds telling us? What can we narrate with the sounds? From a proposed frame, the participants will try to build a narrative based on sound effects and sound without resorting to speech.

Research on concrete, stylized or evocative sound effects, the materials, the sensuality of the sounds, the effects of the movements on the sound, etc.
The crushing, the stretching, the space, the water in the canals, the air: aspiration/exhalation, the fire, the machines, the electronics, the monsters, the animals, the voice, the nature, the elements…
Conducive sounds for developing its sound expressiveness…to expand according to the desires and motivations of the participants…

What atmospheres can be created?
Which atmospheres to install?
How to build a noisy narrative?
How to compose a sound story?

PRACTICAL INFORMATION

For more information contact Gaspard Herblot: cieairblow@gmail.com

Palais du Littoral 2010 Bénédicte Alloing
P1000740