Onomatotek presents vocal polyrhythmias, sometimes involving play with the hands and feet, on the spot or in movement.
The superimposition of rhythmic cells allows an overall game as well as a work on individual and collective listening. The polyrhythmic game offers the possibility of an active participation in the creation of a strong and catchy music, involving the whole body in the sound process. The voice instrument, the vocal phenomena - breathing, phonation, vibrations ... - are put at the service of the production of sounds in space.
This practice of polyrhythms is a component of traditional percussion music in Africa, Latin America, India ... but it has also attracted composers of contemporary music, including Steve Reich with Clapping music , Terry Riley with IN C , and many others. other.
A pedagogical will permanently animates this project: to give tools to practice the rhythm in an organic way, with a playful dimension as well as to blossom through the practice of the ensemble music.
The rhythmic cells are built from onomatopoeia, interjections, phrases, invented words, words in French, words of noises, expressions borrowed from pictorial language, often unusual or surprising.
The words are chosen for their sounds. The spelling of words in French can be modified to give a character closer to the writing of a noise. It is a question of removing from words their meaning and extracting them from their usual roles.
There is in these polyrhythms an absence of hierarchy between the parts. All are equally important - however, there are degrees of difficulty. It must be made clear to the musicians who practice that each voice belongs to a whole. The difficulty and the complexity are not only in each of them but in their interlocking, the precision of the setting up and the cohesion of the whole.
The recommended method for the study of the score is: oral transmission / reproduction / criticism and self-criticism / memorization / and finally reading. If we want to approach partitions by reading (deciphering), it should be done out loud in order to be immediately in the production of the sound universe.
Preparatory musical games are offered to familiarize yourself with the musical material.
All participants are invited to study and practice all parts of the polyrhythm. The study of the cells must precede that of the structure.
The writing of the notes is borrowed from the percussion scores. The note values are usually brief, the pitch is indeterminate, close to the spoken language. The position of notes in the staff indicates relative heights.
The metronomic indication can be observed with some flexibility. It is the practice that must determine it, taking care to preserve the rhythmic force of the whole.
The repetitive nature is part of this music - as can be found in many forms of polyrhythms, including percussion. It is necessary to avoid mechanization in the repetition of the cells, to seek to always have a vigilant listening and to conserve the energy which nourishes the whole throughout the execution.
The music is constantly recreated ...