On the picture to the right a full leg made with straws can be seen. We discussed on the previous workshop the balance between different materials such as plastic, metallic and organic materials and the contrast between them.
Many of the sound elements made rattling or soft background noise, especially the softer plastics where in softer dynamics. We also discussed the difference between that some of the metallic materials came out more melodic and the other samples could be more textural in sound.
Workshop 14-12-24
Workshop with Agnes (designer) and Léa (cellist).
On the first picture can be seen samples to go on Léa’s legs while playing with a softer plastic sample on the right side and on the left bags filled with small beads making rattling noise.
We had tests done for our previous project Inte vårat, under våren where the sound-producing-elements were on Léas legs because it was the way for the samples to not make constant sound while playing. Following the workshop with Agnes, Freja and me they also tried to have different materials on the different legs so that the compositional possibilities can become more varied.
The 3D laser-cut plates were moving in a way in the previous example where they were not touching as much so in the next test we tried with a bigger sleeve with more plates on.
For the music material we were looking for ranges that suited the sound from the costumes and adjusted the playing techniques for different textures.
Workshop 08-12-24
In the end of 2024 dec we had a workshopping day where Freja (Violin), Agnes (Designer) and I met and tried out new sound-samples.
In the first picture the sea-shell sample can be seen. From our previous project we talked about having sound producing elements that can be put on and off during performance by either a stage-hand or performer on stage. Agnes came up with the idea of different sleeves and we tried different techniques for the violin where one hand would sound and the other not even when playing with both hands.
Next we tried different ways of changing the sleeves to see the effects with the bow or left hand. The discovery made was that when using vibrato on the left hand the right hand almost did not sound and when using an arpeggio figure or more hectic figure with the right hand the right sounded much more.
In the figure below different techniques, harmonics and frames / bowing was tested. We discussed the importance of having simplistic melodic material and figures to be able to leave room for choreography and dramaturgy.
