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  1. #11
    Premium Member Aniseteph's Avatar
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    I haven't got as far as working on choreographies in Word - all still in a scribbly notebook, or whatever bit of paper comes to hand when I get an idea. I need my diagrams (floor patterns and stick people!). You can see why people invented dance notation...

    I make notes of what the music suggests for different sections/phrases, and write down other ideas I like that might fit in at some point. I can't think of any other ways of doing it!

    I used to try not to check out YouTube for the same music in case it fixed me onto someone else's interpretation, but I'm more analytical these days and find it useful/interesting.

  2. #12
    V.I.P. PracticalDancer's Avatar
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    Quote Originally Posted by nightdancer View Post
    My notes look like that, too. Is that what Briana taught, Anala?
    I do not recall her using the tick marks. I think it was more of a timestamp map, where every time the music changed she noted the time the new section started; then, she filled in with how many counts there were, etc.

    BUT, it was 3 years ago, and I was "working" the workshop, so I couldn't pay too close attention. My memory after 3 years is not always that reliable.

  3. #13
    Moderator Safran's Avatar
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    Gisela, actually I consider myself very much an excel-table kind of person but I am yet to figure out how to map my music in a systematic way. What I usually just do is listen to the music over and over again until I subconsciously know what will come up next in the song.

    When I want to edit the song I sometimes do write the bulk structure of the song down (intro up to 0:33, saidi from 1:20-1:55 etc.) but I'll usually discard that paper after I am finished with the editing.

    I will give this system a try one day, let's see how it works...

  4. #14
    Member mahsati_janan's Avatar
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    I follow a pretty similar path.
    1) map the music changes with time stamp, then counts
    2) name sections/repeats
    3) map movements, beats, and accents
    4) add choreography notes

    You can see one of my older choreographies written this way here: http://mahsati-janan.com/files/Ch-Izaaj-2.pdf

    The only think I do differently is a drum solo. I make the correct number of columns for the rhythmic phrasing, then draw out the sounds I hear (including accents). Once I have that all mapped on paper, then I translate it to my spreadsheet in drum lingo (D, T, K, roll, etc) and movements.

  5. #15
    Member onela's Avatar
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    This is a seriously cool thread, you guys- I might have to play around with mapping some of my favourite songs next time I'm stuck on a plane, sounds like a very useful thing to do!

  6. #16
    Senior Member walladah's Avatar
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    Default My problem was not to map the music

    but remember the moves...

    So, I have been working on oriental dance notation since summer 2009. I use a mix of music notation to create "meters" for the music and within them i write down the moves.

    Actually, i am thinking of making it public in a while, so that dancers can check the notation and improve and enrich it, because there is no point if i am the only person to understand and use this.

    The problem I have at this stage is how to make this completely digital, because i can scan my hand written notation, but i think it would be better legible if i make it completely digital (how?).

    any suggestions?

  7. #17
    Senior Member walladah's Avatar
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    Default one more point

    my notes are "designed signs", not words. I cannot reproduce words easily in dance...

  8. #18
    Moderator Daimona's Avatar
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    Quote Originally Posted by walladah View Post
    my notes are "designed signs", not words. I cannot reproduce words easily in dance...
    Signs could work, but in my experience (I started out making signs myself because my dance vocabulary wasn't big enough to describe everything) the signs wasn't able to show all the small details I wanted to take note of.
    But me failing using sings doesn't necessarily mean that you'll fail too. The most important important thing, as far as I experienced it, is to include a legend describing each of the sings in detail. If I hadn't done that, I wouldn't have a chance repeating noted choreographies later. Good luck!
    --
    Daim.

  9. #19
    Senior Member walladah's Avatar
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    Default Thanks, Daimona

    for the advice.

    Actually, my first attempt was to create the legend first and the choreography later. But I realised that combinations (what hips are doing, where arms are, whether heels are on the ground or on air) demanded simplicity of signs.

    however, yes, a legend is useful even for me, because even simple signs can be forgotten.

    However, I hope that i manage to upload some first notes (f.ex. a choreography of mine) and see whether the notes are legible and useful for others.

  10. #20
    V.I.P. Mya's Avatar
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    here's me posting...after how long?? hmmm...time to dust off the cobwebs. i think i tend to break down the music differently for myself from how i do it for my girls.

    I'm a serial improv dancer....even after carefully choreographing and practising the bejesus out of a piece, when i'm onstage...it's improv that comes out...invariably. when i'm learning my music the first thing i do is listen....over and over and over and over.....and the when i'm fed up hearing it (and my neighbours are...) i listen to it some more.

    By the time i'm ready to map i've picked up many of the nuances in the music and those are my cues...those are what i timestamp for easy reference for myself and what i teach my ladies to listen for when they're dancing....there's no 4 of this and 8 of that in my classes...no sireeeee...i try to get them to actually listen to and respond to the music rather than add movements to a soundtrack that happens after a while they do start to do it for themselves and i'm all a-gush with pleasure.

    my segments are usually based on what's dominating at that point...the rhythm? the melody? and then i map the group of movements that i feel inclined to do when i listen to that segment; spin? accents? undulating movements?. that's as close as i get to choreographing myself...because in the end, i do whatever the music is telling me when i perform. my ladies...not quite there, so i usually take a poll of what they feel and choreograph the sections for them one movement at a time.

    Generally, for myself, i may have a more or less set sequence for the big dramatic hallmarks in music for want of a better word, but other than that it's improv baby! and that again i can only do from chain-listening to my music.

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