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Lexicon Of Signs

London Improvisers Orchestra: some conducting signals

London Improvisers Orchestra conducting cues word doc.

London Improvisers Orchestra: some conducting signals
Note: obedience to the conductor’s request to play is not compulsory!

  1.  Play a sustained sound. Hand out flat palm upward: at cue (other hand or baton touches flat hand for a downbeat), play a sustained sound.
  2.  Variations in pitch for the sustained sound can be achieved by moving the flat hand or horizontal baton upwards (higher pitched sustained sound) or downward (lower pitched sustained sound)
  3.  Play a staccato sound: Fist held up...  at cue (given by baton or other hand touching fist) play a staccato sound. Sometimes preceded by other hand holding up a number of fingers, corresponding to the number of staccato sounds to be played.
  4. Sforzando Piano. Bringing fist down on open palm: on impact, start with a loud attack and go immediately to a quiet sustain.
  5.  Mind the gap (from David Leahy): conductor makes a circle with index finger and thumb of one hand (as opposed to the loop signal, which uses both hands). When conductor touches this circle with other hand or baton, stop playing; resume when hands move apart again. This creates a sudden silence within dense textures.
  6.  Stop. Hand across neck OR gathering up the air with both hands and closing fingers (Can apply to individuals or sub-groups as indicated, or to the entire group).
  7.  Gradually come to a stop (Sonia Paço-Rocchia): conductor indicates player or group by grabbing the air in front of them with one hand, then she pulls hand downwards in a zigzag line. This means: “bring what you are playing to a close now”.
  8.  Hand over mouth: at cue, play unvoiced sounds (that is, without pitch).
  9.  Time: conductor touches imaginary watch on wrist, and then gives downbeat (sometimes with count/beating time/tempo), play time. The beating of time can also be used to mean ‘slow down’ or ‘speed up’.
  10. Tugging ear and pointing to someone/thing: listen to the sounds of the person/group/thing being pointed at and play along with them until asked to stop.
  11. Density: hands held facing each other and moving in the horizontal plane (left/right). The closer the hands get to each other, the more dense the sound. The farther apart the hands move on the horizontal plane, the sparser the sound becomes. THIS MUST APPLY TO THE GROUP, and not just to individuals – therefore, when the hands are far apart, you may well not be required to play at all, in order to achieve maximum sparseness.
  12. Dynamics: Hands far apart in the vertical plane (high/low), palms facing each other: loud. Hands close together in the vertical plane, palms facing: quiet – moving the hands apart and together indicates crescendo/decrescendo.
  13. Hands rolling over each other: develop what you're doing, continue.
  14. Wiggling glasses/Eric Morcambe (can be imaginary glasses): cue comes first, then at downbeat, do something completely different from what you were doing until then (includes stopping if you’re playing, starting if you’re not). The aim is a sudden complete alteration in the music, but it can end up with players sort of swapping places so that the overall texture remains fairly constant … something to be aware of!

  15. Cross-fade. Indicating a playing group and another group, then raising one arm while lowering the other: the group that was playing fades out, the other group fades in, trying to mimic the sound of the fading-out group.
  16. Index finger and thumb held together, sliding up and down: glissando, following direction and speed of fingers.
  17. Finger to lips, or holding hands up horizontally, palms together: play very quietly.
  18. Both hands forming a circle: create a loop and keep playing it until asked to stop.
  19. Two fingers together, sweeping downward: double bar-line: at cue repeat once what you have just done.
  20. Baton held vertically and moving horizontally: play only as the baton passes in front of you.

  21. Baton held vertically, moving horizontally and other hand held out flat, palm upwards: initiate a sustained sound as the baton passes in front of you. If this signal is then repeated, initiate a different sustained sound when the baton passes again - if the flat hand is moving upwards, make it a higher pitched sound; if downwards, make it lower.

  22. Baton held vertically, moving horizontally and other hand held up in fist: play a staccato sound just as baton passes in front of you.

  23. Baton held vertically and other hand waving in the air: Discombobulate. Gradually take apart the material that you're playing, starting as the baton passes in front of you.

  24. Baton held vertically, moving horizontally and other hand over mouth: play unvoiced sound just as baton passes in front of you.

  25. Baton held vertically and moving horizontally, other hand to throat/neck: stop playing as the baton passes in front of you.
  26. Holding up finger at an angle in front of someone: be prepared to play something marvelous at next cue.
  27. Letter/pitch cues (Phil Wachsmann): Making circles with thumb and index finger of both hands next to each other: B-flat. Semi-circle with fingers and thumb crooked in: G. Middle finger, ring finger and small finger held out straight horizontally: E. Ring and small fingers held out straight horizontally: F. Ring and small fingers held out straight horizontally, with baton across: F-sharp.
  28. Attempt to arrive at a unison (Sylvia Hallett): Conductor draws a horizontal line with her index fingers and thumb in front of the group; they play sustained sounds and gradually agree on a specific pitch until they are all playing the same single pitch (octaves OK unison difficult). 
  29. Sing or use your voice (often used by Alison Blunt): The conductor points to her mouth. On cue, the musicians respond using their voices rather than their instruments.
  30. Shadow (Steve Beresford): two hands parallel at an angle, one lower than the other, means you should ‘shadow’ the indicated player/s. (Shadowing=play quietly behind the player/s, using the same material, like a quiet echo).
  31. Memory. Pointing to head and holding up one or more fingers of the other hand: the first time you see this signal, remember what you are doing at that point – the second and subsequent times, reproduce it on a downbeat cue. There can be several ‘Memory’ cues, numbered 1, 2, 3 etc.
  32. Morph (David Leahy). This signal is in three parts - Part 1: conductor indicates ‘morph’ by making a ‘stirring the pot’ gesture. Part 2: conductor indicates what we should ‘morph’ INTO, e.g. unvoiced sound, a sustain, etc. Part 3: Conductor holds arms wide horizontally and begins to move them slowly together. As the conductor's arms move towards centre (outstretched palms touching in front of her/him), the orchestra gradually changes what they're playing into whatever was indicated in Part 2. When the conductor's palms come together, the transformation should be complete.
  33. Shift into another dimension (Phil Wachsmann): while part or all of the group is playing, conductor draws a horizontally oriented rectangle in the air. Gripping this rectangle by its two ends, conductor rotates it slowly towards a vertical orientation. As the rectangle moves, each musician gradually alters what they’re playing until, when the rectangle is vertical, they’ve moved it into another dimension.
  34. Sectioning – players within the orchestra can stand up, indicating that they want to lead a section. Whoever feels like following that standing person joins in with them, and they play together as much as possible, within the overall sound of the whole group.
  35. Virus (Caroline Kraabel): Conductor passes card featuring letter ‘V’ to a musician. They are infected, and must play something... they can pass the virus of what they are playing to another instrumentalist by touch. As long as both are touching, both keep playing. When contact is broken, originator stops playing and newly infected person continues and can infect others.
  36. ‘Go for a walk’ (Dave Leahy): Conductor walks with fingers of one hand on other arm: musicians may get up and walk around the space while playing.

 

 

Caroline Kraabel: Signs to do with listening


37.
Numbers: Conductor holds up a certain number of fingers; this indicates the number of people that should be playing at once. The musicians must work this out between themselves and listen to each other to achieve this. The conductor may change the number at any time, or keep to one number.

38. Scanning: Conductor cups one hand behind each ear and turns head from side to side. Unless a sub-group has been indicated, everyone plays. While playing, each musician scans with her ears, listening specifically, and in quick succession, to each of the other players, to ensure that she can hear and respond to all of the other musicians. The musicians should consciously and continuously regulate their volume and density, so that the sounds made by the quietest instruments are still generally audible. This cue also implies a responsibility on the part of each player to be producing something sufficiently distinctive to be recognised by the other musicians!


39. Mimic: The conductor indicates an individual or group and tugs her earlobe while now indicating a different individual or group that is already playing. The first person/people should listen to and mimic the second as closely as possible.

40. Opposites: The conductor indicates an individual or group and tugs her earlobe while now indicating a different individual or group that is already playing. She then points with her thumbs in both directions at once. The first person/people should listen to the second and play something that (in her/their opinion) contrasts as much as possible with what the other is/are doing.

Intermediate signs:

41.Listen to them and not yourself: Conductor points to a player or group and then points to another player or group while covering one ear with her free hand. First player/group should play while listening as hard as possible to the second player/group, and trying NOT to listen to themselves AT ALL.

42. Listen to yourself/yourselves and not them: Conductor indicates group/player and then gestures with both hands from her ears towards her chest. Player/Group should only listen to their own sounds, ignoring sounds from outside/from the rest of the group.

 

Signs to do with not listening

43. Process: Conductor holds up both hands with fingers inter-woven, like cogs. Each musician concentrates on her own sounds and avoids listening to others by creating a process for producing sounds that is very very absorbing and demands great concentration. The musicians listen as little as possible even to themselves; they should be concentrating on the difficult and strenuous process by which the sounds come about.

44.Trance: Conductor covers her eyes. The musicians play something so very simple and comfortable (possibly sustained or repetitive) that they need not listen to themselves or each other. Their playing should be such as allows them to approach a trance state.

45. Creative avoidance of responsiveness: Conductor covers her mouth. The musicians play while trying to avoid anything that is obviously a response to what the others are playing. Evidently, this requires one to listen to some extent, but the listening should be light and fleeting and almost in spite of oneself.

46. Not listening: Conductor covers her ears. This one can only be achieved when the group has really worked on the previous three cues. Here the group plays together, feeling resolutely present in the moment only, looking neither ahead nor back, and without any of the musicians listening overtly either to each other or to themselves.