Re: dancing loops

[RandomLFO@aol.com]

     Hi Mathias. Thanks for your reply. So I don't write an email that's too long, I am going respond to most of your questions with individual emails. I will also encourage all of you loopers to see if you can sit-in on some Improv and modern dance classes.

In a message dated 9/21/2002 2:08:41 PM Eastern Daylight Time, matthias@grob.org writes:


> >Mark <RandomLFO@aol.com> said:
>
> >>As a professional Dance accompaniest (VCU Dance Dept./Richmond 
> >>Ballet/Henrico HS/Latin Ballet of VA/ Yoga classes...), I greatly 
> >>encourage all musicians to at least try working with dancers.
>
> >wow... how did you learn? Are there specific courses, a site...?


    Here's how I got started: When I was a music student, I was doing some electronic music performances using my Bass, a couple of DeltaLab delays (1024 and 4096), and an EML101 (Unfortunately the EML belonged to the school, not me - It was extremely nice of them to let me borrow it). The DeltaLab 1024 had an input to modulate it's internal LFO. I would use the EML to modulate the delay. By processing either my Bass, or my voice, this gave me some great sounds! The EML101 was a real powerhouse for experimental sounds. Of course, either delay could Loop. Come to think of it, I also used a Boss 800MS delay pedal that had infite repeat as well. Anyway, I had plenty of looping/delay potential to utilize. 
     A dance student heard one of my performances and asked me to write a couple of electronic music pieces for her choreography. Next, a music grad student asked me to join him in playing for the improv classes at the Dance Dept. (this was 1985 - I am still playing those Improv classes, along with many other classes) For about 5 years, I always had at least one other musician playing with me at these Improv classes. Two guitar players (one of them, Ed Drake is actually on this list) who both are into looping, and another drummer. During this time I started utilizing gongs, cymbals, and borrowing a drum or two for more variety. 
     I eventually purchased a pair of Congas (1994?) and started learning to play hand drums. One day the music director for the dance dept. asked me to sub a modern technique class for a drummer who was out sick. Although I thought that I played rather poorly, they asked me back. I also made the effort to sit in with the other drummers at technique classes. I certainly was no virtuoso on drums. I believe that the dance instructors liked me because I was trying very hard to try and blend my drumming with their movement combinations, and generally learn a lot more about playing for dance. In other words, I was trying very hard, and they knew it. 
     Eventually I got put on the weekly schedule. Now I have 18 classes a week on my regular schedule along with some guest playing that I will be doing. I have played as many as 22 classes a week. I won't get rich doing it, but it's a steady day gig. 
     I also usually get at least one commission a year from dance faculty. The piece I am working on right now is in collaberation with Chris Burnside, one of the VCU Dance Faculty. We will have a showing of this piece in early November.
     There are very few schools (in the US anyway) that actually have any course of study for Dance accompaniment. From what I can tell this is only available as graduate work. There is a guild though, The international Guild for Musicians In Dance (IGMID). For the most part, it is going to be up to the individual musician to pursue this wonderful collaberation.
     Marc