sound painting 1

© 2006 Walter ThompsonArtwork © Jennifer Rahfeldt

Ali rights reserved. Except as permitted under the United States CopyrightAct of1976, no part of this publication may be reproduced or distributed in any form or

by any means, or stored in a database or retrievai system, without the prior written

permission ofWalterThompson.Artwork cannot be reproduced or distributed in any

form or by any means without the prior written permission ofJennifer Rahfeidt.

1 dedicate this workbook to the memory of a great artist,my father, Ron Thompson

Speciai thanks go to the following people for their supportand assistance in puttÍng this workbook together:

DotThompson, Linda Blacken, Sarah Weaver, Mark Dresser,Jennifer Rahfeldt,Evan Mazunik, Gil Selinger,Josh Taylor, Martine Capalbo, Frank Fagnano,

François Jeanneau,Vincent Lê Quang, and ali the participants of theSoundpaintingThinkTank 2005.

How TO USE SOUNDPAINTING WORKBOOK 1

STRUCTURE OF SOUNDPAINTING

COMPOSING SOUNDPAINTING PHRASE OUTLINES

PREPARING THE SOUNDPAINTING ENSEMBLE

WHO CAN PARTICIPATE IN A SOUNDPAINTING ENSEMBLE

THE DVD

WALTERTHOMPSON AND THE HISTORY OF SOUNDPAINTING

THE WALTER THOMPSON ORCHESTRA

GLOSSARY OF SOUNDPAINTING GESTURES

INDEX OF SOUNDPAINTING GESTURES

INFORMATION AND CONTACT

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5

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47

48

NOTES 49

3ÇHow TO USE SOUNDPAINTINGWORKBOOK 1

Soundpainting is the universal live composing sign language for the performing and visual arts.

.SQ*ndpainting was created by NewYork composerWalterThompson for musicians, dancers,actors, poets, and visual artists working in the nedium of structured improvisation. Presently,the language comprises more than 750 gestures that are signed by the composer/conductor to

indicate the type of improvisation desired of the performers. Direction of the composition isgained through the parameters of each set of signed gestures.

SoundpaintingWorkbook 1 addresses Soundpainting in the music discipline. lt is organized incategories based on the Soundpainting syntax—Who, What, How, and When. Each gesture islisted by category and described both conceptually and physically. See the DVD for aid in signingthe gestures.

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Your first step in learning Soundpainting is to read the Structure of Soundpainting andCpiiposing Soundpainting Phrase Outlines sections of this book.

Begin composing simple Phrase Outlines. Be sure to adhere to the Soundpainting syntax whencomposing your Phrase Outiines. Practice your Phrase Outiines in front of a mirror to perfectyour technique before using them with your ensembie.You can either memorize them or usethem as a visual aid when first Soundpainting your ensembie. In fact, when 1 began Soundpainting1 always used a Phrase Outiine in my performance preparation—until 1 reached the pointwhere 1 was able to think of the next gesture and how to physically sign it.

In the beginning stages of learning Soundpainting you will encounter the common difficuity ofthinking of the next direction to take your composition and how to sign it. Practicing with yoursimpie Phrase Outlines will greatly enhance your progress.

When you are ready to break away from using your Phrase Outlines as a visual aid, start bycomposing very simple Soundpaintings. Compose a minute-long Soundpainting using onlyLongTones in different ranges and dynamics.Try this approach with other gestures as weli,such as Pointiilism, Point to Point, and Scanning. Once you have gained a levei of comfort withcomposing minute-iong Soundpaintings using only 1 gesture, increase the number of Sculptinggestures to 2, 3,4, and so on.

Soundpainting is a sign ianguage—you sign the ensembieand they respond with sound. Based on the response, youwill determine in which direction to take the compositionnext. Soundpainting is a conversation betweenyou and theensembie.

Some of the Soundpainting gestures, such as LongTone andHits, achieve specific resuits; others, such as Point to Pointand Scanning are chance gestures—the response of theperformers to a gesture such as Point to Point is often asurprise to the composer.Working with surprise is key tomastering Soundpainting composition.The Soundpaintingcomposer, or Soundpainter, must become comfortablein working with both types of compositional direction—specific resuks and surprises.

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The 43 gestures in SoundpaintingWorkbook 1 fali under 2 general categories: Sculpting gestures

kïd Function signais.

Sculpting gestures indicate What type of improvisation and How it is to be performed, and

Function signais indicate Who performs and When to begin performing.

Who, What, How, and When comprise the Soundpainting syntax.

In other words, the gestures in Soundpainting first identify Who is going to perform, followed by

What type of improvisation is going to be performed, How the improvisation will be performed,

and When to begin performing.An example ofthis isWhole Group (Who), LongTone (What),

Volume Fader — pianissimo (How), Play (When).

Note: The How gestures are not always used.The Soundpainter often signs a phrase leaving out

the How gesture—for example, Whole Group, LongTone, PIay. lf the Soundpainter chooses to

leave out the How gestures, then the performer is open to choose dynamics and quality of the

performed material.

The gestures in a section of a Soundpainting may create phrases as simple as Whole Group,

LongTone, PIay; or as complex as Whole Group, Minimalism, Change;This Is, Memory 1 ;Whole

Group, Off;Whole Group, Pointillism, PIay; Stab Freeze;Whole Group, Memory 1, PIay;Whole

Group, 0ff.

The Soundpainting syntax is further broken down into 6 parts:

1. ldentifiers (Who is performing)2. Content (What type of improvisation)3. Modifiers (How to perform the improvisation)

4. Go gestures (When to begin performing)

5. Modes (a set of parameters affecting specific gestures)

6. Palettes (sections of notated or rehearsed music, text, choreography, or visual design)

Note:A more in-depth study of the structure of Soundpainting will be discussed in

SoundpaintingWorkbook 3

4

CoMosING SOUNDPAINTING PHRASE OUTLINES

To prepare yourself for composing with Soundpainting, start by composing at Ieast lO simpleE’[pe Outlines (see the examples below).Write out the gestures first and then practice themin front of the mirror, until you gain a fluency signing ali the outlines you write—your ownSoundpainting riffs, 50 to speak.

Always make sure to use the Soundpainting language syntax when writing your Phrase Outlines:Who,What, How (sometimes), and When.You may sometimes choose not to sign a How gesture,as illustrated in the first Phrase Outline example on the pages 6 and 7. lf the Soundpainter wantsa specific dynamic or quaiity, then the How gesture would be used. Otherwise, the performerchooses the dynamic and quality.

Your Phrase Outlines should be very simple when you begin, increasing the complexity as youbecome more familiar with the language.After practicing and learning your outlines separately,try them out with your ensemble. Practicing in this manner is fundamental to gaining the abilityto quickly think on your feet while composing live.A fluent Soundpainter can respond to anensembie immediately with numerous choices.The only way to achieve this levei of proficiencyis to keep it simple in the beginning and build a strong foundation on which to develop.

Note: When working with gestures such as Point to Pointand Scanning, you first sign a Who gesture and then Scanning

or Point to Point (see Phrase Outline exampies 2 and 3on pages 6 and 7).A PIay gesture is not needed.

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Examples of Phrase Outlines

V Note: It is your choice of how Iong to perform each Sculpting gesture.

DWhole Group (Who)LongTone (What)PIay (When)Whole Group0ff

0Whole GroupPoint to Point (an 0ff gesture is not needed since

the performer stops when the Point is removed)

0Whole GroupScanning (an 0ff gesture is not needed since the

performer stops when the Scanning arm has passed by)

0Whole Group (Who)LongTone (What)Play (When)Pitch UpPlayPitch DownPIayVolume Fader (experiment with dynamic changes)Whole GroupPointillismPIayContinueWhole GroupLong TonePlayWhole Group

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Whole Group (Who)Pointillism (What)Volume Fader (pp) (How)Play (When)Whole GroupLong TonePlayPitch UpPlayPitch DownPIayWhole Group0ffWhole GroupScanning,With, PointillismWhole GroupPoint to Point,With, LongToneWhole GroupMinimalism (cue ensemble to enter)Change (maintain minimalism)Change (maintain minimalism)This (Is), Memory 1 (the Iast Change is the Memory)Brass, ContinueRest of Group0ffRest of GroupLongTonePitch Up, Up, UpWhole Group0ffWhole GroupMemory 1 (count it in)ChangeChangeStab FreezeTempo Fader — gradually down to slowVolume Fader — gradually to ppppWhole GroupExit SlowIy 7

- _ R1NG THE SOUNDPAINTING ENSEMBLE

IiehearsaI Notes

Soundpainting is a sign language for creating live composition from structured improvisation.Clarity of signing the gestures is key to your success.The Soundpainter rnay practice eachgesture separately with the ensemble—LongTone, Pointillism, Scanning, or Point to Point, forexample—until the desired quality of each gesture is achieved.

Key Phrases to the Ensembie

When in doubt, don’t Iay out!No matter what, don’t stop playing unless you are clearly cut off by the Soundpainter. It oftenhappens that while you are performing one gesture and watching the Soundpainter sign a set ofnew gestures, you wilI lose the integrity of the current gesture or sometimes even stop.

There are no mistakes!If you accidentally come in with Pointillism when theSoundpainter signed Long Tone, stick with Pointillisminstead of switching to LongTone. It will be strongermusically than sneaking out and sneaking back in withLongTone. Don’t purposely try to achieve this, but if it

happens, stay with your choice and wait for the nextgesture to get back on track.

Don’t sneak in, don’t sneak out!Come in right at the end of the PIay gesture and keepplaying until the 0ff gesture or until the next Play gesture.When given a Go gesture such as Play, it is importantto make your entrance hard-edged—Iike changing thechannels on a television set.The sarne can be said forPoint to Point and Scanning—you respond immediatelyand stop once the gesture has been rernoved.

Soundpainter: Use Point to Point as a way to warm up the ensembie!Use Point to Point as a warm-up. Point to different members of the ensembie multiple limes.This will help them get used to the idea of perforrning the first thing that comes to mind—theroot of improvisation! Once the performers are cornfortable with this, ask them to come upwith something different every time they are Pointed to.This can be very challenging and isinstrumental in preparing the ensembie to offer multiple choices during the Soundpainting.

o Point, With, Change is the way to sign the

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WHO CAN PARTICIPATE IN A SOUNDPAINTING ENSEMBLE

One of the wonderful aspects of Soundpainting is that an ensembie maycomprise any number of musicians performing on any combination ofinstruments. lt can be used with more traditional combinations such as SATBchoruses, jazz big bands, string quartets, symphony and chamber orchestras, orwith an ensemble of 20 guitarists, an ensembie made up of 5 drummers; or an

ensembie of 1 guitar, 4 trombones, 1 vocalist, 3 accordions, 1 Iaptop player, and 6 flutes. l’m sureyou get the picture—.-any combination works!

To date, some of the traditional and non-traditional performer combinations Walter Thompsonhas Soundpainted with include ensembies of 60 cellists, 12 tubas, traditional jazz orchestras,symphony orchestras, chamber orchestras, choruses of ali sizes, 25 poets, 100 dancers with25-piece orchestra, 1 5 actors, 125 circus performers with 32-piece orchestra, and 1 500audience members, to name a few.

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The Soundpainting Instructional DVD iliustrates ali the gestures contained in theWorkbook andalso contains a Soundpainting composed byWalterThompson and performed byTheWalterThompson Orchestra.The Orchestra represented on the DVD comprises musicians andactors/vocalists.

While the DVD does not verbally describe the concept or physicality of the gesture, viewingit will greatly aid you in the signing of each gesture and enhance your understanding of theperformance response to be elicited.

Note: Soundpainting, like any language, can produce a multitude of results.The Soundpainting represented on the DVD is only one of the myriad

directions a Soundpainting may take.

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Mcmbers of the Orchestra (on DVD)

WalterThompson — SoundpainterTodd Reynolds —Violin/Associate SoundpainterRolf Sturm — Guitar/SynthesizerGil Selinger — CeiloSteve Rust — Double BassJimWhitney— Double BassRob Henke —TrumpetSarah Weaver — Trombone/Associate Soun dpainter

J ulie Ferrara — OboeMichaélAttias —Alto SaxophoneBohdan Hilash — Bass ClarinetAndreaAriel — DancerNocaisVera Huff— DancerNocalsLeese Walker — ActorNocaisMichael David Gordon —ActorNocaisNicole Poole —ActorNocaisChristian Brandjes —ActorNocais

Directed and edited byJoshuaTaylorProduced by Martine CapalboSound engineer and editor: Frank FagnanoRecorded November lO, 2004, at Bennett Studios in Englewood, New Jersey

Credits:

II

WALTER THOMPSON

AND THE HISTORY OF SOUNDPAINTING

WalterThompson‘ Composer, Conductor,Woodwinds, Educator

Bom in West PaIm Beach, Florida,Thompson spent his earlyyears studying guitar, drums, and saxophone. He made hisprofessional debut at age 12 playing drums with a trio thatperformed at parties. Every summer from age 6 on,Thompsontraveled with his family toWoodstock, NewYork.There, hestudied drawing at the Arts Student League and acting at theWoodstock Playhouse.Thompson’s teenage years were spentperforming in improvising rock bands. In 1 970,Thompsonbegan his studies at Berklee School of Music in Boston,Massachusetts.

In 1974, after attending a few years at Berklee School ofMusic,Thompson moved to his family’s summer house inWoodstock, NewYork.While there,he received a grant from the National Endowment for the Arts to study composition andwoodwinds with Anthony Braxton.Thompson’s work over the next 5 years with AnthonyBraxton was the most important of his life. During this period, he also studied danceimprovisation with Ruth Ingalis in Woodstock.Woodstock in the ‘70s was a very excitingtime for music.The Creative Music School (CMS), founded by KarI Berger, Don Cherry, andOrnette Coleman, was going strong. Great composers and performers such as John Cage,Ed Blackwell, Carlos Santana, Don Cherry,Anthony Braxton, and Cana BIey gave 2-weekworkshop/performances with the students.The CMS was closed during summers, but many ofthe students remained inWoodstock.Tbompson organized jam sessions with these students.Out of these sessions Thompson formed his first orchestra and produced a series of concertsat theWoodstock Kleinert Gallery.The focus ofthe orchestra was on Iarge-group jazz-basedimprovisation. It was duning these early days thatThompson began expenimenting with signingimprovisation. He created very basic gestures, asking for a Iong tone or improvisation in apointillist style, for example.

Thompson moved to NewYork City in 1980 and formedTheWalterThompson Big Band(nowTheWalterThompson Orchestra) in 1984. During the first year with his orchestra,whileconducting a performance in Brooklyn, NewYork,Thompson needed to communicate withthe orchestra in the middle of one of his compositions.They were performing a section ofimprovisation where trumpet 2 was soloing. During the solo,Thompson wanted to have one ofthe other trumpet players create a background. Not wanting to emulate bandleaders who wouldyeII or speak out loud to their orchestra,Thompson decided to use some of the signs he hadexpenimented with during hisWoodstock days. In the moment he made up these signs:Trumpet 1,Background,With, 2-Measure, Feel;Watch Me, 4 Beats. He tried it and there was no response!

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But in the next rehearsal, members of his orchestra asked what the signing was about—and hetcl4them.The orchestra members thought it was a very interesting direction and encouragedThompson to develop the language further. Over the next lO years,Thompson continuedto develop Soundpainting into a comprehensive sign Ianguage for creating compositionfrom structured jazz-based improvisation.And in the early ‘90s,Thompson began expandingSoundpainting for use with actors, dancers, poets, and visual artists.

Over the past 15 years Thompson has taken Soundpainting into music and art education, toconservatories, universities, and schools throughout the world. Soundpainting has evolved intoa universal sign language for live composition in which music, theater, dance, and fllm scores canbe realized spontaneously.

Thompson has composed/conducted Soundpaintings with contemporary orchestras in manycities around the world including Barcelona, Paris, Oslo, Berlin, Bergen, Copenhagen, andReykjavik and has taught Soundpainting at the Paris Conservatoire, Eastman School of Music,lceland Academy of the Arts, University of Michigan, University of Iowa, Oberlin CollegeConservatory of Music, and NewYork University among many others.Thompson is founderof and composer/conductor forTheWalterThompson Orchestra, based in NewYork City.The Orchestra has been together for more than 20 years and has been the key vehicle forThompson’s Soundpainting.

Thompson has received awards from various organizations, including the RockefellerFoundation;The University of Iowa (“Ida Cordelia Beam DistinguishedVisiting Professor”); theMid Atlantic Arts Foundation (“Artist as Catalyst”); the jerome Foundation; Meet the Composer/Reader’s DigestlLila Atchison Wallace Commissioning Program; the National Endowment for theArts;the Mary Flagler Cary CharitableTrust;TheAmerican Society of Composers,Authors andPublishers; and the NewYork State Council on the Arts. In 2002 Thompson was presented withthe prestiglous Aplaudiment from Premis FAD Sebastià Gasch d’Arts Parateatrals in Barcelona,Spain, for his work with Soundpainting.

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TheWalterThompson Orchestra (WTO),founded in 1984 as a vehicle forThompson’scompositions and adaptations, has expanded beyond the core ensembie of world-class musiciansto include actors, dancers, and visual artists.TheWTO is on the vanguard of live performance,exploring the interdisciplinary potential of composition through Soundpainting.At a time whenmost art forms are still bound by strict definitions, the ‘A’TO brings a fresh approach to theconventions of music, drama, dance, or visual arts.

TheWalterThompson Orchestra has performed in club and concert venues in the UnitedStates and Europe, including HEREArts Center, Lincoin Center,,the Knitting Factory, GalapagosArt Space, Roulette, Eastman School of Music, Sweet Basil, La Ma Ma,The Kitchen, BrooklynMuseum, BimHuis (Amsterdam),Jacobs PiIlow, and on National Public Radio’s FreshAir.

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0

GLOSSARY OF SOUNDPAINTING GESTURES

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GESTURE DESCRIPTION OF GESTURE

Syntax (PD = Physicat Description of Gesture)Category

WHO FUNCTION

WHOLE GROUP Ali performers—the entire ensembie.

Syntax:Who PD: Hold both arms over your head creating a circie withCategory: Function fingertips bareiy touching.

,

Biss Ali Brass players.

Syntax:Who PD: Hoid a ciosed hand to your mouth, Iike biowing aCategory: Function trumpet.

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WOODWINDS

Syntax: WhoCategory: Function

STRINGS


VOcALJSTS


Ali Woodwind players.

PD: Cup both of your hands together in front of your body,iike crushing walnuts.

AlI String piayers.

PD: Cross your arms over your chest.

Ali Singers.

PD: Grab your chin with your thumb and fingers and thenquickly iet go in a siightly outward motion.

GESTURE

Syntax‘ategory

DESCRIPTION OF GESTURE

(PD = Physical Description of Gesture)

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Syntax (PD = Physical Description of Gesture)

Category

PERCUSSION Ali Percussionist(s), including pianists.

Syntax:Who PD: Put your right hand over your heart.Category: Function

GROUPS Specific Groups of performers set prior to rehearsal or

Syntax: Who performance.

Category: Function EXAMPLE: HaIf the ensembie may be Group 1 and the otherhalf Group 2.

PD: Ciose both hands, making fists. Using the bottom of oneof your fists, lightiy tap it on top of the other and then showa number with the fingers of the top hand to indicate whichgroup.

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GESTURE DESCRIPTION OF GESTURESyntax (PD Physkal Description of Gesture)Category

REST OF GROUP Identifies those who are not performing or were not justSyntax:Who signed.Category: Function NOTE: While this gesture is halfthe shape ofWhole Group, it

is not used to indicate half the group (see Groups).EXAMPL.E: The Soundpainter signs Strings, Minimalism, PIay;Rest of Group, LongTone, PIay. In this example, the Rest ofGroup includes any non—String payers who, at the momentof being signed, were not performing anything. In anotherexample, Rest of Group indicates the performer(s) whowasn’t just signed. Here, the Sou ndpainter signs WholeGroup, Pointillism, Continue. Then the Soundpainter signsPoint to Point and points to a performer and signs Continue;Rest of Group, 0ff. In this example, everyone stops exceptthe person to whom the Soundpainter just pointed.PD: HoId one arm above your head creating half a circie.

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WATCH ME


‘1

Used to raise the attention of the ensembie to a heightenedlevei.

PD: in the shape of a Ietter “V,” point the index and middiefingers of either hand at your eyes, a coupie inches away.

;y

1

GESTURESyntaxCategory



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GESTURE DESCRIPTION OF GESTURESyntax (PD = Physical Description of Gesture)Category

WHAT SCULPTING

LONGTONE A long, sustained pitch or sound.Syntax: What NOTE: Guitarists and pianists may choose to perform a LongCategory: Sculpting Tone by striking a pitch and Ietting it ring out or using tremolo.

EXAMPLE: The Soundpainter signs Whole Group, High LongTone, PIay. Musicians choose a high pitch and maintain it.

PD: Holding your hands a little out in front of your body,pinch the thumb and index finger of both hands together.Keeping your other fingers closed and facing the ensembie,bring your hands together and puli them apart along ahorizontal plane. End the motion after pulling out to the sideapproximately 2V2 feet (0.75 metre).

LongTones are signed on an imaginary music staff in front ofthe Soundpainter. Drawing a LongTone in the middle ofyourchest indicates a mid-range LongTone and drawing high aboveyour head or low in front of your body indicates a high or IowLong Tone, respectively.

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Syntax (PD = Physicai Description of Gesture)

Category

PITCH UPIPrrcH DowN Raise/Iower pitch a haif or whole step—the inter-vai choice is up

Syntax:What to the performer.

Category: Sculpting NOTE: There are 2 ways to initiate Pitch Up/Down:1. A Piay gesture is given to initiate either a Pitch Up or a

Pitch Down.

2. Maintaining the shape of either Pitch Up or PitchDown, shove your arms forward.The pitch changeswhen your arms are fully extended.This second useof Pitch Up/Down ailows the Soundpainter to rapidlychange pitch.

PD: For Pitch Up, partially extend both arms about a foot infront of your chest, shoulder width apart. Keep your flngerstogether pointing upward, with the backs of your hands facingthe ensembie. Pitch Down is the sarne except your fingers arepointing downward.You may also simultaneously sign Pitch Upwith one hand and Pitch Down with the other, to have bothhaives of the ensembie moving in different directions.

(Pitch Up) (Pitch Down)

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SCANNING Performers respond with open improvisation as the ScanningSyntax:What arm passes over them in either direction. Performers stopCategory: Sculpting immediately after the Scanning arm has passed by.

NOTE: lf the Soundpainter stops on a performer, she/hedevelops her/his improvisation slowly—at the sarne rate ofdevelopment as in Point to Point. Scanning does not needa Play gesture; the gesture, by itself, initiates an automaticresponse from the performer. Many modifications can beused with Scanning. For instance, you can use the Continuegesture in conjunction with the Scanning arm to indicate to aperformer or perforrners to Continue.

EXAMPLE: The Soundpainter signs Scanning,With, Pointillism;ar Scanning,With, Laughter; or Scanning,With, Hits. In theseexamples, only Pointillism, Laughter, or Hits, respectively,are performed when Scanned. lf the Soundpainter stops on aperformer the improvisation parameters of Scanning are alwaysrnaintained; performers develop their material slowly.

PD: HoId your arm straight out to one side, about a footabove shoulder height, with fingers together and flat paimfacing the ensemble. Keeping your arrn rigid, pass it just overthe heads of the ensemble.You can use either or both armswhen Scanning.

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A

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Category

POINTILLISM Arrhythmic, staccato notes and bits of longer notes performed

Syntax: What rapidly.

Category: Sculpting PD: Pinching your fingers together and holding both hands alittle out and above your head, make a drumming-like singlestroke motion a few times.

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P0INT lo POINT (PTP)

Syntax: WhatCategory: Sculpting

When pointed to, the performer immediately beginsperforming, slowly developing her/his choice of a single idea.The type of improvisation is an open choice of the performer.The performer immediately stops performing when the Pointis removed.

NOTE: To avoid unclear entrances, be very direct with yourpointing motion. PTP may be modified using other Sculptinggestures.

EXAMPLE: The Soundpainter may sign PTP,With, LongTone.Performers then perform only a LongTone when Pointed to.Other examples include PTP,With, Pointillism; or PTP,With,Memory I.There are many possibilities.

PD:This gesture is signed in 2 parts: Preparation and Action.First, point your index fingers up in a slow back and forth pistonIike motion just above your head—this is the preparation.Then,step forward with one foot in a Iunging motion and point to theperformer(s) you want to perform.

GESTURE

yntax

ategory



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RTETo


RelateTo another performer.The performer RelatingTo maychoose any way in which to relate—imitate, synchronize,abstract, support—unless signed a specific RelateTo by theSoundpainter.

NOTE: The RelateTo gesture is initiated with aWhen gesturesuch as PIay or Enter Slowly.

EXAMPLE:TIie Soundpainter may sign a specific way in whichto relate, such as Relate To,With, LongTones. The performerthen makes her/his entire RelateTo based on LongTones.

PD: With your arms in front of your chest, make a backand-forth, piston-like motion with one of your index fingerspointing at the performer playing and the other pointing tothe performer you want to Relate To.

G ESTURE

SyntaxCategory



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Category

MINIMALISM Continuous, rhythrnic cycling of the sarne several pitches

Syntax: What without change.

Category: Sculpting NOTE: The Soundpainter may want to beat a pattern to bringthe ensembie in together to perform Minimalism.The beatis not an indication of the meter in which the performersare to play.The Soundpainter may beat a 4 pattern and theperformers may choose to come in with repeated material in7, 5, 3, or any other meter, including in 4.To maintain a pulsein Minimalism, the Soundpainter need only keep a pattern-lessbeat.

The Change gesture is often used with Minimalism to indicate. changing the material either by altering it or making a

completely new choice.The performer maintains Minimalismwith the Change.While Minimalism is being performed, signthe Change gesture (see Change) and then give an obviousentrance point.

PD: With the backs of your hands together iii front of yourchest, push your hands down toward the floor, causing yourelbows to rise, creating a “V” shape.

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The performer Changes her/his improvisation.The performermay choose something brand new or modify the materialbeing performed.

NOTE: This gesture is often used with Minimalism.PD: With closed fingers, cup either hand to make a letter “c:’

G ESTURE

SyntaxCategory

Cw1GE




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Performers memorize the material being performed at themoment the Soundpainter signs Memory.

NOTE: A Memory may be created from anything—thereare many possibilities. lf the performer can’t memorizeexactly what is being performed, then she/he can memorizethe quality of what is being performed. For example; lf theSoundpainter signed Memory during Pointillism, then theperformer memorizes the quality ofthe Pointillism beingperformed and brings it back in the Memory.

EXAMPLE: The Soundpainter signs Whole Group, LongTone,PIay,This (Is), Memory 1 ;Whole Group, 0ff. To cail back theMemory 1 later,the Soundpainter signs Whole Group,Memory 1,PIay. The ensemble comes back in with the exact LongTonebeing performed at the time the Soundpainter signed Memory 1.

PD: Hold either your right or left arm straight out in frontof your body, palm down and paraliel to the floor. Nowmake a sweeping side-to-side motion a couple times (theThis (Is) gesture).Then hold the index finger of that hand toyour temple.While keeping this finger on your temple, usethe fingers of your other hand to identify the number of theMemory—I finger for Memory 1,2 fingers for Memory 2, etc.

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GESTURE DESCRIPTION OF GESTURESyntax (PD = Physical Description of Gesture)

‘ éategory

MEMORY


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A CD-like skip with the material being performed.

NOTE: If a performer is playing an accented phrase when StabFreezed, she/he bounces on the accent being played at theexact moment of being Stab Freezed. lf a performer is playinga LongTone at the time of being Stab Freezed, she/he freezeson the LongTone, holds it until the Stab Freeze is removed,and then goes back to what she/he was doing before theStab Freeze. If a performer is silent at the moment of beingStab Freezed, she/he remains silent until the Stab Freeze isremoved. Performers should maintain their tempo at the timeof being Stab Freezed and stay true to what is happening in themoment.

EXAMPLE: The Soundpainter signs Whole Group, Pointillism,PIay; Stab Freeze, Continue. In this example, the Continuegesture indicates to remam in the Stab Freeze.The Stab Freezewill catch the performers executing various styles of materialas mentioned above.

PD: This gesture is signed in 2 parts. First, you prepare theensembie for a Stab Freeze by fully extending either arm infront ofyou with your paim up and fingers together.Then,to Stab Freeze the performer(s), make a fist with your otherhand and bring it down onto your open paim with a stabbingmotion.The contact of the st.abbing hand with your paimis where the Stab Freeze is initiated.When Stab Freezed,the performer(s) gets stuck in a bouncing-like motion withthe material she/he is performing—imitating a CD-Iike skip.As soon as you lift the stabbing hand off your paim, theperformer(s) goes back to the previously performed materialand continues it.The stabbing gesture is done without creatingany slapping sound when contacting your palm.When addingContinue to Stab Freeze, it is important to sign the Continuegesture immediately after removing the Stab Freeze—keepingeach gesture physically dose to one another.


Syntax (PD Physical Description of Gesture)

Category

STAB FnzESyntax: WhatCategory: Sculpting

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Syntax (PD = Physicat Description of Gesture)Category

EXTENDED TECHNIQUES Doing something uncharacteristic with you r instru ment.

Syntax: What EXAMPLE: Extended Techniques can include a SaxophonistCategory: Sculpting popping the reed, a Pianist playing on the soundboard, or a

Vocalist rolling RRs or doing tongue clicks.

PD: Cup either hand to make a circie. Hold it up to your eyeand Iook through.With the other hand, wiggle your index andmiddle fingers in a scissor-Iike motion in front of the cuppedhand while Iooking through.

A very short, punching, staccato sound.

NOTE: lf a Hit is interjected during the performance of

another gesture such as LongTone,the performers would

perform the Hit on cue and then immediately return to

the exact LongTone they were performing prior to the Hit.

Another way a Hit may be signed is Hit, 0ff, where the

performer immediately comes to silence after the Hit.The

Hit, as in LongTone, is pitch related according to the vertical

plane position in which you sign the Hit—high, middle, or low

positioning indicates the approximate pitch range.To sign Hit,

0ff, sign a small 0ff gesture with just your hands immediately

after giving the preparatory sign for the Hit.

PD: Signed in 2 parts: Preparation and Action. Pinch together

the index fingers and thumbs of both hands, leaving your other

fingers open. Raise your hands slightly above your head and a

little out in front. Maintaining this shape with your hands, give a

short forward stabbing motiori—this is the preparation for the

Hit.To initiate the Hit, step forward in a lunging motion with

one foot while simultaneously throwing your hands directly

out irr front of you—quickly opening your hands once your

arms have fully extended.The Hit is performed at the opening

of your hands.

GESTURE

SyntaxCategory

DEscRIPTI0N OF GESTURE


Hn


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GESTURE DEscRIP-noN OF GESTURE


Category

IMPROVISE Perform a solo.This is the only gesture in Soundpainting

Syntax:What asking for an aIl-out solo to be performed.The Soloist has the

Category: Sculpting freedom to fully go in any direction she/he chooses.

NOTE: The Improvise gesture may also be used in conjunction

with other gestures.

EXAMPLE:The Soundpainter signs Brass 1, Improvise,With,

LongTones. Brass 1 uses LongTone as the main focus ofher/his improvisation but may also include other related or

unrelated ideas.

PD:With palms of both hands facing the ensemble, and fingers

together, make a triangle in front of your chest by bringing

together your thumbs and index fingers.

33

SHAPELINE


Performers musically perform the physical shape theSoundpainter creates with her/his body—physical graphicnotation.The performer may choose to play a glissando orsomething more staccato-Iike in response to the differentpoints in the graph-like movement being physically drawn bythe Soundpainter.

To get in Shapeline, you first sign the Shapeline gesture andthen stand rigid in a neutral upright position.The ensembieinterprets with sound any movement following the rigid neutralstance of the Soundpainter.To remove yourselffrom Shapeline,go back to the neutral position and then sign aWatch Megesture to the ensemble—you are now out of Shapeline.

NOTE: The Shapeline gesture may be modified using otherSculpting gestures.

EXAMPLE: The Soundpainter may sign Whole Group, Shapeline,With, Laughter; or Whole Group, Shapeline,With, Pointillism;or Whole Group, Shapeline,With, LongTone; to name a few.

PD:Assume an upright rigid stance—the neutral position(Silence). Using either arm, make a wavy, snakelike motiongoing from right to left or Ieft to right passing at chest heightin front of your body.

GESTURE

Syntax* Category


(PD = Physical Description ol Gesture)

34

Synchronizing specified material with specific performer(s).

Synchronize does not need aWhen gesture.The synchronizationbegins the moment your fingers are interlocked—lastingas long as you hoid your hands in this position.When youhave acbieved the levei of synchronization desired, use theContinue gesture to maintain it.To break the synchronization,quickly puli your fingers apart. Performers go immediately backto what they were doing before the Synchronize.

NOTE: In some instances synchronization may easily bereplicated, but in others, because of the complexity of thematerial to be Synchronized, the performer Synchronizingmay have to search around to find another performer(s) withwhom to Synchronize.The Soundpainter may have eitheroutcome in mmd; however, in the Iatter case, it is imperativethat the performer maintains the mntegrity of what is beingperformed while she/he is searching for someone with whomto Synchronize. In complex synchronizations there are timeswhen only searching wiii take piace—this is a very effectiveuse of Synchronize.

PD: Interock the fingers of both of your hands—backs ofyour hands facing the ensembie.

GESTURE DEscRIPTI0N OF GESTURESyntax (PD = Physical Description of Gesture)Category

SYNCHRONÍZE


35

LAUGH


SPEAK


Laugh continuously in the style of a stage laugh (not real).

PD: Put either hand on your stomach. Keeping the fingers ofyour other hand together, paim open and facing the ensembie,bring that arm up and out to the side even with your shoulderforming a 90-degree angle at the elbow. Maintaining this shape,lean backward a little, with your upper body bending at thewaist. Do this once.

Speaking.

NOTE: A Speaking topic may be set before the performance.Th performers come in immediately, speaking with intensity,as if turning on a radio and immediately hearing a loud crowdspeaking at once.

PD: Cup both hands and hold them up to your mouth, likecalling out to someone.

GESTURE

SyntaxCategory



j•1

36



Category

AIR SOUNDS Air Sounds made with the mouth, such as wooooosh, sssssss,

Syntax: What haaaaaa—but not whistling or breathing.

Category: Sculpting PD: Like saluting with either hand, but coming straight out fromyour mouth.

WHISTLE Whistling.

Syntax:What NOTE: Improvise—do not quote any songs.Category: Sculpting

PD: Place both of your index fingers pointing up on either sideofyour mouth.

37



Category

WHAT FUNCTPON

CONTINUE Performer Continues with what she/he is performing.

Syntax:What NOTE: Continue may also be signed using just one hand inCategory: Furiction conjunction with another gesture, such as Point to Point or

Scanning. in this exampie, the one-handed Continue gestureis signed right next to the other hand doing Point to Point orScanning, indicating to the performer to Continue with theperformed material after the Soundpainter removes the Pointor the Scan.

PD: One hand in front of the other at chest levei, fingerstogether, with paims facing your chest, make a clockwise(away from your body) circular motion by rotating one handover the other.

e eh

38

15

WITH

Syntax: WhatCategory: Function

THIS (Is)


Conjunction—a Iink between gestures.

NoTE: The With gesture is important in Soundpainting inthat it gives the performer a delineation between Sculptinggestu res.

EXAMPLE: The Soundpainter signs String 3, Improvise,With,Extended Techniques, Enter SIowIy.

PD: Cross your arms at the wrists, about 6 inches out infront of your chest, with fingers together and palms facingaway from one another.

Pertains to whatever is going on at the time theThis (Is)gesture is signed.

EXAMPLE: The Soundpainter signs Whole Group, LongTone,

PIay;This (Is), Memory 1. In this example, the LongTone isMemory 1 and was identified withThis (Is).

PD: HoId either your right or Ieft arm straight out in front ofyour body with the paim down, and make a sweeping backand-forth motion a couple limes.

GESTURE

Syntax

Category


(PD = Physical Description 01 Gesture)

.4

39

EI,sE


WAIT


Já

The Soundpainter uses this gesture to teu the ensembie theprevious gesture(s) is canceled.

PD:With both palms facing toward the ensembie, fingersapart, give a slight waving off gesture.

A gesture given by the Soundpainter instructing a group or anindividual to Wait.

EXAMPLE:The Soundpainter signs Whole Group, Pointillism;Brass 1, Improvise,Wait;Whole Group, 0ff. lmmediately afterthe 0ff gesture is given, the Soundpainter points to Brass 1 tobegip improvising.

PD: Hoid both hands at chest levei with your fingers openand palms facing the ensembie.

1

GESTURE

SyntaxCategory



40


Syntax (PD = Physical Description of Gesture)Category

HOW SCULPTING

VOLUME FADER Increase or decrease the volume.

Syntax: How PD: Bending either elbow at a 90-degree angle to the floor,Category: Sculpting with the outside of your forearm facing the ensembie, make

a fist.This is the fader arm.With the other hand form a Ietter“V” with the index and middle fingers, closing the rest ofthe fingers. Holding the meaty part of your thumb againstthe outside of the fader arm (the part facing the ensembie),slide the “V” fingers up or down the Fader arm to indicatethe volume.The top of your fader arm indicates ffl7 and thebottom, near your elbow, indicates pppp.

41

TEMPO FADER

Syntax: HowCategory: Sculpting

Increase or decrease the tempo.

PD: Bending either elbow upward at a 90-degree angle tothe floor, hold the fingers of your hand upright and tightlytogether, keeping an open paim facing right (for the left hand)or left (for the right hand).This is the fader arm. Keep thefingers of the other hand together, paim flat and facing theground, and place it a little out front and on top of your faderarm creating a letter “T” shape—similar to the time-outgesture in sports. Slide your hand down and up the fader armto indicate tempo.The top of the fader arm indicates a veryfast tempo, and the bottom, near your elbow, indicates a veryslow tempo.

[ 3 ;;

G ESTURE

SyntaxCategory



42


WHEN FUNCTION

PIAr The immediate initiation of signed material.The performerSyntax: When must come in right at the end of the gesture and come inCategory: Function immediately, without hesitation

PD: Bring your arms straight back behind your body andparaliel to the floor. Keeping your arms rigid, and with asmooth but rapid motion, bring your arms directly out in frontof your body and stop paraliel to the floor, giving a slight flickof your wrists to indicate the exact point at which to enter.

0FF Whole Group or individual performers stop playing.Syntax:When PD:With open palms facing the ensembie at about shoulderCategory: Function height, and keeping one hand vertically above the other, bring

your arms over to either side of your body. Keeping yourpalms facing the ensembie, bring them quickly across thefront of your body in a sweeping motion to the other side ofyour body, closing your hands at the end of the movementas if grabbing an imaginary vertical pole.The grabbing of theimaginary pole is the cut-off point.

43

/

ENTER SLOWLY

Syntax: WhenCategory: Function

EXIT SLOWLY

Syntax: WhenCategory: Function

Enter the composition within approximately 5 seconds.

PD:With palms apart facing your chest,thumbs pointing upand fingers slightly apart, wiggle your fingers slightly whilebringing your hands together, fingertips almost touching.Thenstop wiggling.

Exit the composition within approximately 5 seconds.

NOTE: Exit SIowIy is not an indication to decrescendo but toquickly find a conclusion to your improvisation.

PD:The reverse movement of Enter SIowIy:With fingertipsalrnost touching, palms facing your chest, thumbs pointing up,and fingers slightly apart, wiggle your fingers slightly whilemoving your hands apart.Then stop wiggling.

G ESTURE

SyntaxCategory

DESCRPTION OF GESTURE


44

GESTURE DESCRPTON OF GESTURESyntax (PD = Physical Description of Gesture)

‘ Category

FINISHYOUR IDEA The performer finishes the material being performed, bringingSyntax: When it to a natural conclusion within about 1 minute.Category: Functiori PD:With either hand, draw a downward snakelike motion

using a closed (pinched) index finger and thumb.

1

GESTURE DESCRIPTION OF GESTURESyntax (PD = Physical Description 01 Gesture)Category

ENSEMBLE GESTURES

WHO. FUNCTION

PERFORMER DOESN’T The performer didn’t see or doesn’t understand theUNOERSTAND gesture(s) signed and is asking the Soundpainter to re-sign(ENSEMBLE GESTURE) the gesture(s).

Syntax:Who NOTE: The Performer Doesn’t Understand gesture mayCategory: Function be used in rehearsal to let the Soundpainter know theperformer doesn’t know the meaning of the gesture, but not inperformance or you’re fired! Just kidding!

PD: Performer briefly holds her/his hand to her/his forehead.

45

, rÇ, ,y

GESTURE — DESCRIPTION OF GESTURE

Syntax (PD = Physical Description of Gesture)Category

PERFORMER CAN’r D0THIs Any performer unable to Continue with what she/he is

(ENSEMBLE GESTURE) performing may give the Performer Can’t DoThis sign to theSyntax: Who Soundpainter to indicate—usually for physical reasons—thatCategory: Function she/he can’t keep doing what she/he is performing.

NOTE: The Soundpainter may choose to have the performergo to neutral or sign the performer to Change to somethingmore physically doable. If, after trying, the performer is unableto get the Soundpainter’s attention, then the performer mayChange or stop on her/his own.

PD: Performer briefly holds her/his hand to her/his throat.

46

Air SoundsChange

Extended TechniquesHfts

ImproviseLaughLong Tone

Memory

MinimalismPitch Up/DownPoint to PointPointillismRelate ToScanningShapelineSpeakStab FreezeSynchronize

Whistle

37

28

31

32333621

29

2722

2524

26

2334

3630

35

37

4645

GESTURE PAGEWH O—FUNCTION

Brass 16Groups 18RestofGroup 19Percussion 18Strings 17Vocalists 17Watch Me 20WholeGroup 16Woodwinds 17

WHAT—SCULPTING

GESTURE PAGEWHAT—FUNCTION

Continue 38Erase 40This (Is) 39Wait 40With 39

HOW—SCULPTINGTempo Fader 42Volume Fader 41

WHEN—FUNCTIONEnter SIowIy 44Exit SIowIy 44FinishYour ldea 450ff 43Play 43

rz1ENSEMBLE GESTURES

WHO—FUNCTIONPerformer Can’t DoThisPerformer Doesn’t Understand

47

INFORMATION AND CONTACT

SoundpaintingWorkbook Series

SoundpaintingWorkbook 1: Basic 43 Soundpainting gestures — Music language only (Available inEnglish and French)

SoundpaintingWorkbook 2: Basic 43 Soundpainting gestures — Multidisciplinary language foractors, dancers, musicians, and visual artists; lnterdisciplinary Soundpainting

SoundpaintingWorkbook 3: Use of palettes (composed material); Soundpainting structure;More language

Soundpainting Workbook 4: More multidisciplinary Soundpainting; More language

SoundpaintingWorkbook 5: Simple and complex phrasing; More language

Contact

For more information about Soundpainting orWalterThompson, please use the contactinformation below:

Walter ThompsonRA.C.C.P0. Box 36-20631NewYork,NY 10129

infosoundpainting.com

http://soundpainting.com

48

/

sound painting 1

Documents

soundpainting workbook

soundpainting ensemblewho

addresses soundpainting

soundpainting syntaxwho

minutelong soundpainting

phrase outiines

simple phrase outlines

yoursimpie phrase outlines