TIN is the music festival of many voices, the happening of spontaneous sound art. TIN, these are jam sessions with singing, improvised vocal music. TIN, the first a cappella festival for choral improvisation in Germany, is taking place for the fourth time. Singers from five countries show how to perform concerts on stage using only their own voice. They teach in workshops and instruct people to try it out for themselves. Up to performance readiness: The concluding Open Stage is there for everyone who wants to try it.
VOICE SISTAS, Fr. 20.00
Three singers who experiment back and forth between groove and lyrical freedom. They sound out the limits of their vocal expressiveness and in this way create songs, sound collages and abstract sound structures. Sometimes humorous, sometimes lyrical, sometimes groovy and then again completely free in the metre. The music of the Voice Sistas is pure live music and due to its stylistic breadth it is good for many, many surprises.
MARKUS PRIETH yodelling improvisation, Fr. 20.00
Markus Prieth turns all expectations of yodelling upside down in a crazy way. The South Tyrolean vocal musician offers modern yodeli improvisation at its best. He is interested in making sonic contact with people. On his website he writes that yodelling is simple and brilliant. When Markus Prieth yodels, then "brilliant" is certainly the more accurate description.
SONGS OF THE MOMENT, Fr. 20.00
"Songs of the Moment", that is seven top-class singers* from the ensembles of The Real Group (S), Rajaton (FIN), Zap Mama (B), PUST (NOR) and the former Vox North (DK). They improvise so masterfully that you don't even notice it. But what stands out all the more: unique sound art, touching voices, perfect vocal technique. A dream team of professional a cappella singers*.
JOHANNA SEILER & IMPRO PUR!, Sat. 20.00
Within the framework of this project, Johanna Seiler brings improvisational performances to the stage in various ensemble formations from duo to quintet, sometimes a cappella, sometimes with instruments and dance.
MARKUS STOCKHAUSEN, VOCAL ORCHESTRA NRW AND CHOIR, Sat. 20.00 h
Markus Stockhausen will perform his commissioned composition "Ein neuer Atem", an interactive piece for a 30-person vocal ensemble. The ensemble consists of equal numbers of professionals and amateurs and is additionally accompanied by instruments. The title "Ein neuer Atem" is a quotation from his father, the composer Karlheinz Stockhausen, who died with these words on his lips on 5 December 2007. Markus Stockhausen is about authenticity, about a true expression of sound, open and sensitive, about making music with antennas for inspiration. The space and the audience are included singing, sounding, swinging.
CHRISTIAN PADBERG, Sun. 2:00 p.m.
"Dad's Phonkey" is a solo project of singer Christian Padberg, which could be described as "a cappella-with-itself". Using only the means of voice and loop machine, he develops polyphonic songs or sound structures that are completely improvised and irretrievable. He babbles, grooves, shreds, languishes, doubles and triples. The voice imitates instruments or produces multilingual dummy gibberish according to the motto "the text only disturbs freedom". Dad's Phonkey stands for the dirty instead of the clean sound, for originality instead of cover version, for improvisation instead of composition ... in short: for musical freedom.
POP-UP, Sun. 2:45 pm
The German-Dutch-Italian trio improvises from the moment, tells stories sonorously and brings a lot of movement into the game. Among the characteristics of her unmistakable performance are dramatic interludes, musical ingenuity and the imitation of instrument sounds. It is possible, however, that pop-up musicians will come up with completely different ideas, ones that nobody could have foreseen before. Then they would have fulfilled their promise brilliantly.
CIRCLESING & OPEN STAGE, Sun. approx. 3.30 p.m.
Improvocals push for performance. This is the nature of this stand-up singing technique. You sing in a group and alternate between listening and singing. Each improvisation is therefore a small concert. Then why not just get up on stage and get going?
CLOSING THE CIRCLE, Sun. approx. 3:45 p.m.
The last chance: the grand finale, where everyone can express themselves musically once again. How it begins or ends is not known until it is already over. That is why we are not announcing anything else at this point but: You just have to be there.
TATJANA CICHON AND BARBARA BECKMANN
Smell the sound
Making fragrance tangible in sound. Smell directly and uncontrolled hits the limbic system, the center of our emotions. What happens when scent meets direct, vocal expression? An experiment of the senses... three scents, three sounds, clusters, towers, layers.
Sat 13.45 to 14.15
ROBERTO DEMO (I)
The orchestra in the mouth
Roberto will show how the mouth can produce sounds similar to those of an orchestra. You got that right: Your voice can sound like a trumpet, flute, cello, violin, harmonica or percussion. This requires that one analyzes and understands the timbres of the instruments and experiments with them. Roberto uses the Estill Method (EVT), named after the American singer Jo Estill. After the workshop, everyone will surely have expanded their sound spectrum with some rhythmic and orchestral nuances.
Sat 14.30 to 16.00
MEL GERMAIN (D)
How do I start it? A basic workshop for the introduction to vocal improvisation
Circle singing and vocal improvisation are a pleasurable community experience in which spontaneity, flexibility and free development are the main focus. Sometimes, however, it is difficult to enter into this free musical development of all things, an idea or an impulse is missing. Through small exercises and games, this workshop opens up paths to improvisation and unravels the "knot in the brain".
Sa. 12.00 hrs to 13.30 hrs
KATHARINA HENRYSON (S)
Active listening as the basis for free musical interaction
A group of singers* sounds good when the individuals get involved with the group. Katharina Henrysons shows in her workshop how to build a connection to your fellow singers through active listening. She sees listening as the basis for free musical interaction. For this workshop she combines her "All-Ears-Workshop" concept with traditional choral methods, and incorporates additional inspiration from performance art.
Sa. 12.00 hrs to 13.30 hrs
PEDER KARLSSON (S)
Body Instrument Practice - what is rhythm, what is sound and how do we explore it?
GDP is about the energetic connection and reconnection within a person and between people. When we do these exercises as a group, the result is more or less unpredictable. Welcome to a workshop of collective exploration of rhythm and sound. All exercises are part of the Body Instrument Practice developed by Peder Karlsson and are fundamental for every singer*. The well-being of the singers* is always the starting point and goal, and the secure feeling for intonation and rhythm is almost only a side effect. If there were a "Learn from the best" seal of approval, Pedar's workshop would be one of the first to receive it.
So. 10:00 to 11:30
KEES KOOL (NL)
Musical functions for improvising in an ensemble
Kees gives an introduction to the musical role allocation when improvising in an ensemble. It shows how an a cappella impro band is made up and which functions the band members take over. Often a "band leader" starts with a musical theme, followed by interlocking, counterpoint, rhythm and bass. But how can you practice these functions? Kees' suggestion: Take a looper (technical device that repeats recorded melodies or patterns - as long as you need them).
So. 10:00 to 11:30
LINDSAY LEWIS (E/D)
Create exciting sounds with different voice modes
The workshop explores practically all sounds of the voice using the methods of the Complete Vocal Technique (CVT). So all vocal modes, timbres and effects. If you want to sing Heavy Metal but don't want to ruin your voice for the fine classical music, this is the right place for you. With Lindsay as THE expert for CVT the incompatible becomes compatible.
Sat, 10:00 to 11:30
MORTEN MOSGAARD (DK)
Rhythm training and basic beatboxing
This workshop focuses on adding percussive sounds to vocal improvisations. At the beginning there are basic exercises for working with groove and rhythms. The following are different types of sounds that can be used in the vocal group, including both body/mic sounds and basic beatboxing.
Sat, 10:00 to 11:30
MARKUS PRIETH (I)
n Markus Prieth will introduce yodelling as an individual musical means of expression. One thing is for sure: If you enjoy musical interaction and improvisation, this is the right place for you. Markus describes his workshops as a yodel game: "Sitting in the sandbox and playing with friends, enjoying the best of all leisure activities, just out of the box giving and perceiving pleasure without make-up. Dive together, remember to laugh."
Sat, 2.30 pm to 6 pm
So, 12:00 to 1:30
BRITTA REX (D)
Scales, colours and church tones
A playful occupation with scales, church keys and the chord scale theory, which is fun. Light canons, loop songs or ostinati serve as a basis for improvisations. Singing, a dazzling world is explored that instills great respect in many singers* and is considered dry and highbrow. It can be very easy to sing in unfamiliar keys.
Sat, 4.30 pm to 6 pm
FELIX SCHIRMER (D)
Singing with your hands malen ...how is that possible?
At the Vocal Painting Workshop for students, anyone can be a conductor. It doesn't matter how well you can already sing - a lot of things simply happen when you make music. Whether body percussion, beatboxing, polyphonic or solo singing, there is room for everything in the vocal band. In the workshop, all students will independently develop a final presentation from a musical template.
Thu, 09.00 to 12.00; Fri, 09.00 to 13.30
FELIX SCHIRMER (D)
The Intelligent Choir - vocal painting and thoughts on vocal leadership
The Intelligent Choir (TIC) is a method originating in Denmark, where the relationship between choir direction and choir is rethought. TIC provides ensemble leaders with the tools to prepare a choir and reflect together on the musical process. An essential component of the method is the vocal painting, which is based on Walter Thompson's sound painting, and with which Circle Singing can be lifted to a new level. All choir members are involved in the development and progress of the music. Choir direction and choir inspire each other and hierarchies become flatter.
Sat, 4.30 pm to 6 pm
KRISTIAN SKARHØIJ (DK)
This workshop allows you to explore your own voice and creativity and the collective energy of spontaneous musical patterns. Kristian teaches circle singing as Bobby McFerrin developed it. This includes singing gibberish and telling musical stories, as well as composing by superimposing musical patterns. His aim is to make this music of the moment fun and to let the energy of the group be felt. At the end everybody gets the chance to lead a circle song on his own.
Sa. 12.00 hrs to 13.30 hrs
SOILA SARIOLA (FIN)
Get to know your layer(s) and thereby connect with the whole
The workshop focuses on the experience of a deep sense of belonging among all people. The medium of this fundamental journey into the unknown of our archaic consciousness is, among others, the traditional Kalevala or runic singing, which is more than 1,000 years old.
Sa. 10.00 am to 11.30 am
JOHANNA SEILER (D)
Vocal improvisation and the sources of true inspiration
How do I find it, this delightfully unintentional flow of improvised voice music? How do I easily connect to reliable sources of inspiration? How do I dive into individual and collective intuition? How do I pave the way for musical magic moments? This course shows how enchantingly unique music is created when we approach the balance of peaceful letting go, value-free perception, joyful trust, authentic vocal expression and true devotion to music. Whether newcomer or professional - all voices are welcome and will be appropriately encouraged in the course's diverse ensemble formats.
So. 10:00 to 1:30
MORT VINTER (DK)
Most singers* can handle complex sounds and rhythms very well. They understand and process them intellectually and then implement them with their voices alone. But if they explore rhythms and simple grooves with their whole body and not only with their voice, then they develop as singers. Because then a musical thought becomes a physical experience. The workshop extends simple exercises for physical musical exploration with improvisational elements.
So, 12:00 to 1:30
The number of participants in the workshops is limited.
Note: The actual course of a workshop and the starting times may differ from the announcement text.
The TIN-Festival is an a cappella festival for vocal improvisation with concerts, workshops and open stages. It takes place every two years in Düsseldorf and is organised by DIVA (Düsseldorf Impro Voices Association, member of CV Düsseldorf). Initiator, director and artistic head of the festival is the Düsseldorf musician Barbara Beckmann. Co-organizer is Peder Karlsson, one of the founders of the Swedish a cappella band The Real Group.
In vocal improvisation, a group of singers* produces vocal music without the exact specifications of a score. At the centre of this free form of singing together are the voices, the individual musical ideas and the cooperation of all. In contrast to choral singing, there is no repertoire that has been composed and rehearsed beforehand. The music is created either by the musical ideas of a choirmaster or by the singers' own ideas*. The singers* strive for a harmonious musical form melodically, harmoniously, vocally and rhythmically. Typical for the melodic style in choral vocal improvisation is the use of patterns or loops, which are repetitions of a more musical pattern.
Vocal improvisation is music from the moment and for the moment. Masters* of improvisation usually hardly notice that they improvise. For learners, the appeal of improvisation in a choir lies in the fact that, even without much previous knowledge, it leads to almost intoxicating musical experiences right from the start. So you don't have to be a professional. But it's worth listening to them: Among the artists* who have shaped vocal improvisation are Bobby McFerrin, Rhiannon and Roger Treece.
The festival is for listeners, choir and ensemble leaders, for singers* and friends of singing, for sound artists and sound art lovers, for amateurs and professionals, adults and schoolchildren. Ultimately for all those who have a desire for unusual musical adventures. Offered are concerts as well as workshops, possibilities for individual coaching and a final open stage. So you can listen to vocal improvisation as well as learn and perform it yourself.
Greeting from the patron Markus Stockhausen
"Dear contributors, participants* inside and listeners* inside the TIN Festival 2020,
at the beginning a big thank you to the organizers Barbara Beckmann and the TIN team. How important it is today to open up spaces for creative experience that are inviting and nurturing for all.
We live in a very special time in which one news item chases the next, a constant flood of stimuli seems to suppress our creative impulses. So it is all the more important to use these spaces and to feel into the sounds, singing or listening. Sounds can create deep connections with each other and with ourselves. They guide us into the transpersonal space of being. This has always been the magic of music. And if we ourselves are also creatively involved, it inspires our soul.
In improvisation nothing is fixed, everything appears in the moment. It means to dare and trust, to follow the inner impulse. So improvising is always a test of courage and a way of awakening to our inner strength and beauty. Let us share them with each other, with all our hearts."
Thanks a lot:
Despite the support of cultural policy, the festival is dependent on financial assistance. We are therefore pleased about every donation. Account details TIN Festival: IBAN DE81 1001 1001 2627 9781 31 BIC: NTSBDEB1XXX or via Paypal to the email address firstname.lastname@example.org (Please select the option "send to friends or family").