Quick Reference for Alchemical Rhythmatism
by Joshua Levin and Michael Wall
ALCHEMICAL RHYTHMATISM (A.R.) IS EASY
You learn it by doing it. Once you get the basic idea, it can be applied in many different ways.
A much more elaborate and detailed discussion of these principles is available as
The Practice: Alchemical Rhythmatism
Please Note: Anyone who wishes to drum at the MayFire Fire Circle must attend the Friday session of The Practice. For those of you who are not interested in participating in this semi-organized rhythmic technology, you may depart the workshop after the first ten minutes which explains when the evening's drumming will be open to your free exploration.
KEY FEATURES OF ALCHEMICAL RHYTHMATISM
1: FURNACE - a semi-circle of musicians. (Where music gets cooked.) The open space in the center is called the Gratitude Zone - an area where dancers can interact very directly with the musicians.
2: GROOVE - the single rhythmic phrase referenced by all musicians. It serves as the foundation for all the music in the circle.
3: LINES - The groove contains high and low "Lines." The High Line is defined by the key high pitched tones of the groove, and the Low Line is defined by the bass tones in the groove. When these separate Lines are played by differently tuned instruments, the result is surprisingly complex and tasty.
4: ROLES - A.R. has clearly defined musical roles with different jobs:
Groove Guide (Celestial Child) - sets and keeps the Groove (Hand Drum)
Mirrors (Mercury/Soul) - match the groove, preserving its distinct rhythmic shape (Hand Drum)
Pulse (Sulfur/Spirit) - keeps the beat like a metronome, by playing on the whole, half, or quarter note. (Shekere)
High Line (Sulfur/Spirit) - matches only the groove's high tones. (Bell, High Bass Drum)
Low Line (Sulfur/Spirit) - matches only the groove's low tones. (Wood Block, Low Bass Drum)
Soloists (Peacock's Tail) - play complementary rhythms and improvisations. (Any instrument, even voice)
Anyone can play any of these roles. Before playing in the Groove Guide or Soloist roles, you are expected to play in at least one support role.
5: VARIATIONS - Some roles play variations on the groove. (High Line, Low Line and Soloist). Variations on the individual lines are produced by adding or dropping the sixteenth note immediately before or after the key beats. (Sometimes by dropping one key beat entirely.) This approach sustains the structure of the rhythm.
6: CHANGING ROLES - Everyone has a chance to rotate through the various roles. People can switch roles at anytime, including the middle of a piece. If you want to play a certain role, make eye contact, and gesture to the person currently in that seat. They can either give up the spot or shake their head (meaning "please wait, I'm in the middle of something"). You can also gesture to invite someone else to take your place, so you can sit out for a while.
7: VERBAL CUES - A.R. is all about the power of connecting, and connecting is all about communication. Verbal cues can be used to invite the ensemble to move in a given musical direction. Anyone in the ensemble can make these verbal cues. This includes singers and dancers.
To make a cue, get people's attention by stepping into the Gratitude Zone or just calling "HEP", which means, "Listen up! Something is happening."
Some common verbal cues:
'hep' or 'listen up',- something is happening.
'level up' or 'level down'- bring the volume up or down.
'sup' or 'slowit'- speed up or slow down.
'steady'- keep the volume or the tempo at its current level.
'tighten up'- simplify and reconnect with the core groove.
'sail in' or 'sail out'- slowly fade in or out.
'show me One'- show me the beginning of the groove.
8: INTERACTION and SUPPORT- people are encouraged to guide each other. If you hear someone having trouble finding their part or place in the music, please offer help. If you are having trouble, look to your playmates for support. Please be gracious in offering and receiving help. Approach the challenges of getting "it" and sharing "it," by having fun with "it."
9: SILENCE - the music is always in service to the Circle. Sometimes that means actively creating a silence, even total silence. Be aware of the dancers, singers, spoken word offerings and general energy around the fire. Active listening is a vital skill here.
Thank you for your interest in exploring new paths together as we groove ourselves into the bliss... |
