Tutorial
how to imagine rhythms like that, how to play them precisely and how to improvise with multi-layered rhythms?
The „recursive rhythm get-together“ is (becoming) a real utopian socialist project, an open and sharing community of highly professional and international musicians in berlin and beyond, happened from 2020-2021 and 2024 in Berlin and interim online. fundament was the „X over y no borders system", the „extended rhythm pyramid" and the „speculative multiple dimensions concept“, a postcontemporary system for complex(istic) rhythmic and intervallic improvisation and composition.
I developed and am developing a postcontemporary logic of practise for innovative musicians of the 21st century. This brings together the quintessence of my research to date. My "recursive rhythm get-together" - is – beside my own music making – the practical and additive substrate of this work.
all 40 Recursive rhythm get-togethers were 2 hours long, open to everyone and free of charge.
Topics
Xenorhythms, isorhythms, Equidistances, (double, Triple) Nested Tuplets, Polyrhythms beyond 8, (double) Discplacements, Carnatic cycles, morphing, harmonic and metric superimpositions, uncommon subdivisions, Irrational time signatures, sitting, All my compositions, independency, imagination, Constructions, motivation,, waves, nature, acceleration, fibonacci, funnnnnnnn, nothingness and being, complementary rhythms, time (present, future, past), certain (number) series from other worldviews, chance, ??* *?~?! ??, circles, [space], simplicity-complexity relationship, absurdity, recursive patterns, counterpoint, reverse or random rhythms and endless other stuff I try to imagine
New Music Beats II - 2022
Unprecedented beat adventures for real utopian improvisers
New Music Beats I - 2015
Substructures for Improvisable Complexistic rhythms
Some compositional notes on NMB 1-10
The works NMB 1-10 combine two basic (philosophical) ideas.
Namely to find freedom in something fixed, as well as to bring things from the future into the present.
First, the idea of the New York School around John Cage, Earle Brown, Morton Feldman etc., who experimented with the four components structure, form, material, method and their openness. Certain musical aspects - often organized nevertheless - are not fully notated. Which accordingly had to go hand in hand with new forms of notation.
Secondly, the idea of the postcontemporary. According to the speculative realist Armen Avanessian, the fact that time or temporality as such is changing. It is no longer linear, but rather things from the future determine our present more and more. For example, preemptive personality, preemptive politics and police work. What means in relation to music, for example, that certain algorithms already know which music can best be sold.
In order to circumvent a deterministic world or music, a positive vision of the future is needed, a self-determined and at the same time - in a positive sense - speculative one, as can be seen in jazz or the new complexity trend within new music. Electronic sounds and more complex rhythms are used more and more, because after centuries of searching for new acoustic sounds as well as harmonies and melodies, now researching musicians are thereby predicting the future of a stronger focus on rhythm and its necessity and try to put it into practice.
The aim of the ten works is to improvise with complexistic rhythms (higher polyrhythms, equidistances, isorhythms, double and triple rhythmic shifts, rhythms with two or three brackets and metric overlays) individually within a prestructured form and prestructured melodic material, but free in handling, performance, articulation, variation, expression and sound. This is supported by the notation form developed for this purpose, so that in the end a constantly new and individual postcontemporary new music can emerge.
The instrumentation (the frequently suggested combination of guitar (g), bass (b) and drums (d) is not mandatory) as well as the choice between acoustic and electronic sounds is free. Even if more or less automatically complex beats are created by the defined frame.
The 43 sound examples are recorded with guitar, guitar with octave and MPC drum samples and selected in a way that on the one hand it clarifies the notation and on the other hand it presents one individual manifestation of the plural contingencies. The works were composed in autumn 2015 and the examples were recorded in spring 2016.