CCTG22

Commence improvising discontinuous music. In the gaps in your playing: without masking their expression, allow your eyes to wander amongst your fellow players. On meeting the eyes of a fellow player: play in accordance with their expression.

Notes

Tender Glaces

F: Janet Robertson

Ode:

On receipt of a tender glance, play melodically, straight from the heart.
Look around. What does your eye light on?
On receipt of a glare, protest dramatically and waste no time.
Look around. What does your eye light on?
On receipt of the straight gaze, gaze back and keep in tune.
Look around. What does your eye light on?
On receipt of an enquiring look, answer as best you can.
Look around. What does your eye light on?
On receipt of a surreptitious glance, look the other way and keep moving.
Look around, etc.
(space for more lines)

CFIRT146

Page one of the Evening Standard current on the day of performance. Each performer has a copy which he will use as his score. Performers decide individually how they wish to interpret the score and perform accordingly for a given length of time.

Notes

Improvisation Rite 3. Suggestions for playing: Play it straight through as if one was actually reading it. Play the pictures only. Play the headlines only. Play the captions only. Play the punctuation only. Play one news item only. Play the white space around the print only. Etc, etc.

Alternate version: Each player has a previously agreed distinct part to play (eg. one of the above, etc.). Ending can still be at a given time or whenever players feel they have finished.

Notes from 2015

The author of this rite, Carole Finer, has stated that the Evening Standard has changed a lot since 1969. This should be performed with a 'serious' broadsheet newspaper, with several stories on the front page, such as the Sunday Times.  It is acceptable for an ensemble to use the business section in addition to the main news section.  It must be the front page only of these sections.  Not everyone need use the same front page.

HSIRNT14

Before playing, do something inappropriate. Keep doing it until it feels inappropriate to start playing. Start playing.

Notes

Improvisation Rite No 3

HSIRNT13

When you're not playing, look for a girl in red stockings.

Notes

Improvisation Rite No 2

MC12

Two classes of performers: improvisers and stone-throwers, the former class to contain more members than the latter.

The stone throwers throw stones to miss the improvisers and cause no damage, this a vigour proportionate to the intensity of the sound.

Notes

Appendix: There are no penalties for hitting an improviser or damaging an object as it is assumed this will not occur.

HSIR8

The group assembles, one of the members being elected BIG LEADER. When there is silence, The BIG LEADER makes a sound, as short and quiet as possible. He is then challenged. the challenging member attempting to produce a sound even shorter and more quiet than the first. In the midst of great celebration, the challenger becomes the BIG LEADER. The process then continues until all members have had a chance of becoming BIG LEADER. The Challenger who last comes BIG LEADER is named as the SUPER BIG LEADER. There is great celebration; drinking, music, &c.

Notes

Improvisation Rite.  Conventions:

1. Any challenger must fuirst be announced.
2. It is generally accepted that the challenger always wins.
3. Nobody is allowed to become BIG Leader more than once.

HMSIR5

For any number of people, preferably unknown to each other, making any kind of vocal or physical sound; no instruments to be used.

Performance to take place in any large area, inside or outside, with everyone scattered throughout whole areas, widely separated from each other as possible. A person stays in the same place throughout the performance; physical motion of all kind to be kept to a minimum.

Sounds can be of any kind produced from the person, i.e. vocal sounds (singing, speaking whispering, shouting, crying, laughing, hissing, etc) or from the body (hissing, slapping, clapping, etc).

Sounds are made mainly in response to other sounds, therefore a sound made should have some meaning to the person making it. This meaning can be verbal (conversational) or aural (musical), or a combination of both. A response can be immediate (spontaneous reaction to some kind of sound, probably verbal) or reflective (probably musical). He can also arouse the responce of other people by some sound; or he can just listen. In geneeral the nature of the improvisation should be still and reflective.

The performance ends for each person individually when he has nothing more he wants to do. He may then get up and leave, this being the only physical movement he makes.

Notes

Improvisation Rite. Variant: Replace first 12 lines with: - Any number of people making any sounds. Perform in a large area, as widely separated from eahc other as possible. Performers stay in the same place throughout, keeping physical movement to a minimum.

PDIR3

Form a standing circle. Nominate a leader, who stands in the centre with eyes blindfolded. The remainder of group rotate slowly around him/her. At random the leader indicates a quarter of the group number by touching each individual. Indicated ones leave the group and become 'others'.

The leader removes his blindfold, and establishes a rhythm and a note of his choice. The group together sing the note, which once established may be enlarged upon freely; but with voice only.

At any time during above proceeding an 'outer' may touch one of the 'inner' group, who must immediately cease part in the performance and assume role of non-participating 'outer'. 'Outer' automatically becomes and 'inner' and must begin to perform a new sound or activity. One not produced by the voice.

Thus an outer may terminate any one person's participation at any time.

When the leader is touched, he forfeits his role and so doing shouts 'Porridge.' All activities and sounds much cease immediately, whereupon the new leaser must decide on a new group activity once 'outers' have been re-indicated. No verbal instruction must be given. He must begin the performance; the group imitate and enlarge upon it. Each successive rite must follow the same ritualistic pattern.

Notes

Improvisation Rite. Note: the fraction in line 4 may be adjusted. Variant for last paragraph: When the leader is touched he forfeits his role, and so doing shouts "Porridge". All participation is interrupted for a fraction at "Porridge" and then resumed. Each person's first participation (coming 'in' from 'out') and "Porridge" should be the same as new leader's activity. Suggested closing rite: When a leader considers the performance has gone on long enough, he screams a different word (not "Porridge") when touched. Whereupon all cease finally.