A New Approach to Large Ensemble Playing and Conducting
by Kenneth Dahl Knudsen
Through hand gestures, dynamic scores, and flexible rhythms and harmonies, I aim to explore how large ensemble playing can become more fluid and engaging, keeping all musicians alert and responsive.
With the aim of creating a dynamic and flexible approach to written music, the upcoming research project seeks to explore whether music and ideas can be communicated clearly and effectively in real time.
This inquiry stems from a curiosity about the lack of flexibility and preparation time in larger ensembles, as well as a desire to create new expressive possibilities.
In this project, I will investigate, test, and apply the tools and methods of improvisational music, with a focus on newly composed works.
An open form enables the ensemble to remain in constant flow, with the conductor able to manipulate the length of the piece by moving in and out of sections.
Entry points for each musician can be altered to highlight different timbres within the ensemble.
By combining repeated sections with harmonic and rhythmic modulations, continuous development of the piece is achieved, introducing new meters, harmonic centers, and orchestrations.
MODULAR FORMS
The number of fingers on the left hand indicates the number of beats per measure.
The angle of the hand indicates the tempo of the new meter.
IMMEDIATE METER CHANGES
Morphing is the ability to move from one meter to another through rhythmic patterns.
Moreover, we can borrow a “grid” from another subdivision or even stay in between
STRETCH TIME AND MORPHED TIME SIGNATURES
In a “half-modulation,” we borrow accidentals from other tonalities. While the pitch range remains the same, the notes are adjusted to fit the new tonality.
CLOSED HAND INDICATES
“HALF MODULATION”
OPEN HAND INDICATES
“FULL MODULATION”
In a “full modulation,” we shift all the material towards the new tonality, with all pitches moving by the same intervals.
HARMONIC MODULATIONS
The improvisers and conductor co-create the textures and generate a space for interpretation that is not always present in pre-defined scores.
Gestures indicate density, timbre, velocity, and articulation.
These concepts open up opportunities for the spontaneous shaping of direction and expression in all sections of the band, allowing us to create backings for soloists by inviting sections to enter, lay out, or decorate.
Soundscapes can be matched to the soloist’s energy.
TEXTURES AND IMPROVISATION
The conductor indicates a new tonal center by showing the number of accidentals in the upcoming key—moving upward for sharps and downward for flats.
OUTCOME
This project explores how conductors can shape improvised ensemble playing in real time through gesture and texture. Through research on established concepts and ensembles, concert recordings, a dedicated website, and a catalog of gestures and notes, it provides practical tools for spontaneous interaction between the conductor, ensemble, and soloist.