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Sustenance in Melody

Singing today I fell in love with the overtones that connect a musical melody into a whole.

Since the qualities of dance and music is so close, I wonder what the connecting elements are for dance in a movement melody.

With musical overtones, the resonance of one tone fills the spaces of one note to the other. Their is a continual flowing movement no matter what rhythmic spaces occur for emphasis and anticipation.

Dancers also know how to fill a movement with different levels and qualities of resonance. Each movement, each part of the interconnected body, each cell and organ, fills with a resonant energy that continues like music through any rhythmic space into a melodic phrase.

Yet there is something more basic below the energy. That is the movement of the curve that dancers understand as connecting any transition from one movement to the next. The curve can be a loop that can double back into what seems like a line. The curve can be a continuous spiral that intertwines with other spirals from many areas of the body, the emotions, and the intentions of the person.

The basis is of course the wave that makes up sound and light. The wave like the dancer extends to a peak and rides the curve into a rejuvenating exhale before receiving another inhale at the lowest point to rise again.

Each point along the way connects in millions of ways with the next points changing direction into a fresh movement. The dancer studies the wave form as the sustenance between each movement and the sustainer of the melody creating an imprint of the individual and the group of dancers.
Tim Hurst 02/06/18

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Melody Essentials

Melody in music is connecting sounds from a wide spectrum of vibrations and tonal qualities.

Melody in dance is connecting movements from a wide spectrum of three dimensional movement and tonal qualities.

Melody in both contain phrases, concise units of communication that have an initiation, a continuation, and a completion.

Music includes specific sounds that we identify as specific vibrations or as notes. Each vibration within a melody also has an initiation, a continuation, and a completion. A specific sound contains a wide spectrum of dynamics and tonal qualities.

Dance includes specific movements that we receive as vibrations emanating from different areas of the body and from different relationships to space. Each vibration of each movement
within a melody has an initiation, a continuation, and a completion. A specific movement also contains a wide spectrum of dynamics and tonal qualities.

Each vibration may connect to another vibration or have a brief pause called a rest, a space, silence or stillness. The training of the musician, the dancer, and their audiences is to experience the melody as a connected unit even with the pauses. Another part of the training is to connect all the concise phrases that make up the melody.

Those experiencing the melody, the dancer, the fellow dancer, and the observer, receive the vibrations along with the modulations of dynamics and tonal qualities. The experience is an engagement of all the human faculties available to the person.

The depth of training for all those receiving melody can be elusive because it is a skill present in the embryo and the youngest child. As with any experience, if we fully engage ourselves we build networks of body, brain, intention, and signal balance. As we discriminate between experiences, we can train ourselves to ignore some of these networks.

Training to receive melody is a daily reminder of the full spectrum of vibrations available to us as humans. Music we immediately engage. We can limit the kinds of music and limit the areas of of our body and memory and hope that relate to the music experience.

Dance is the same. We can engage every area of our bodies as we dance or observe dance. Yet we can only experience the areas of our bodies and brains that are available to us. Our habits are to limit our experience of different parts of our bodies, our memories, and our hopes.

For this reason, our earliest ancestors danced and sang every day. They were reminding themselves of melody as a way of engaging the full spectrums available to humans.

They were entering the experience of engaging their entire self and reflecting on the experience of sharing those vibrations of melody with their community. Each phrase had a concise mode of communication and each phrase connected to a full melody.

Melodies change with the experience of the individual and the group. This growth of melody leads to a deeper training that is also elusive because it is second nature to humans. When dancing or making music, we move through different types of experience. Each tonality, each combination of vibrations, affects our perception of how we fit into our world.

Our language does not express this experience well. We call the agility to move between different experiences alternately mind states, meditative states, body states, out of body states, or states of consciousness. We may call it a spirit world or prayer or hallucinations.

The experience of melody is the practice of reminding ourselves how we connect to ourselves, to each other, and to our world. Melody is concise communication that comes through us and inspires our reflection upon the connection of experience, our emotional and intentional nature, and the forces of life that seek a balance of sending and receiving vibration.
Tim Hurst. 042517

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My Question My Dance

My Question
What if the force of life were something simpler than we think? I ask this from the artist’s point of view, the dancer and the musician specifically.

What if life were a delicate sorting and forming process synchronizing a self, a community, and networks of organs and communication networks?

What if this process were accessible to us through our experience of every moment? What if our lives are malleable and dependable on interconnections we willingly enter?
My Dance
Is this moment a melody? A rising and falling of myself that I can only know in its forming?
Is this moment a melody? A curved sound of touching another and myself at the same moment?

Does every move of me, every sight I receive, every touch and sound recreate a melody?

Does every rhythm of my self amplify the rhythm between us? This melody I call myself, these undulating harmonies and unisons, these echoes extending beyond my eyesight. Am I shaping and reshaping our unseen unions within me and with you?

I taste my rise with a curve and I sense my peak curving a surprise return. My dancing breath awakens me to suppleness, to loving eyes, and to cherish the collecting treasures in the curve.

On every moment of my curve, I sort, I sing, I dance and prepare for any chance, Any chance I may reconnect with a me and a you I hope for, yet can barely imagine.

It seems that at every intersection of every moment I meet a dancer who has traveled these curves before, A dancer who braves the sudden sweeps, who does not confuse calculation of arrival for the unisons of heart beat and breath and yearn for more life.

It is these brave dancers who shape and reshape melodies in the curves of experience. Melodies I can only imagine become reflections in the peaks and in the free falls of my dance.

Yes my every moment is a melody, an opportunity to dance this moment of myself. These treasures become the wave, the curve of my life to be nurtured moments recreating myself.
Tim Hurst. 04/11/17