Yesterday, I was part of the TGCO crew playing at a wushu/taiji exhibition event organised by Hui Taiji Training Centre out at Heartbeat@Bedok. The main event was 《师傅出马》, where different taiji masters went on stage to demonstrate their kata (yes, I'm mixing terminology). Our role from TGCO was to play accompaniment music so that their demonstration wouldn't be too dry.
Traditionally, I think they would be playing some pre-selected music over the PA system like some kind of dance set up, with the sound engineer doing the necessary fade out at the end.
This time round though, we had quite a few pieces (several brand new!) prepared beforehand. We had roughly six weeks or so to get ready, and even then, the process was more harrowing than normal, mostly because of the need to match the durations of the pieces that we were playing against the estimated time of the kata for each of the twenty or so masters. It was pretty messy as the original score had to be deconstructed into parts that could be repeated ad nauseam in case of overruns, and even with all the preparatory work, we still ended up being lost in the woods for some of the pieces, with just the bass and rhythm marching forward while all the melodists were confused. That wasn't helped with confusing signals put forth by the conductor during the actual run itself, since even she sometimes messed up where we were repeating from, due to having to actually pay attention to the goings-on of the kata on stage in order to control both the beat as well as when to do a roll cut off.
Overall, we did fine.
While much of all the preparatory work wasn't surprising to me, having done project-based performances before, it was something that the rest of the orchestra were not used to. The cadence in which the piece needed to be quickly understood and rehearsed, lots of adjustments as the pieces were recorded, timed, and reworked to figure out how to match the actual kata durations, and not to mention the even more pressing need for folks to actually pay close attention to the conductor for once---these were definitely new for many of the players because they were used to a more social-style rehearsal, where we'd spend the 2 hours of rehearsals going through just one or two pieces. I have nothing against that social-style rehearsal, but having the orchestra stretch their experiences through this more frenetic pace was definitely a good plus for them. Maybe this might inspire them to actually pay more attention to the conductor, and to perhaps build up their foundational musicianship skills.
The actual fun part of the performance that I had was the execution. It was messy, it was hilarious broken with us being lost in the woods, but it all worked out well. There were three points in the performance where there was nothing but the on-stage overseas master whom we never really interacted with doing his kata, then Justinn on the drums, and me on some dizi. And that was it---the master did his thing, Justinn kept time and rhythm on the drums, while I freestyled on the dizi based on what I was seeing on stage, and what Justinn was providing as the beat. I was so locked in that the 3 minutes, and later on 4 minutes simply passed on by in a blink. I think it was the first time that the orchestra witnessed one of us (me in this case) actually freestyling at a performance ``live'', and they were impressed. Someone even made a wry comment on how ``it was obvious who had been practising and who hadn't''.
Just don't ask me to re-play what I played---I have absolutely no idea. All I remembered was the first piece was an energtic and fast piece in F-minor for the halberd demonstration, while the second is in C-minor with lower and longer notes for the fists demonstration, all improvised on an E♭ bangdi, with the first using C-major fingering, and the second using G-major fingering (flute fingering nomenclature).
``But MT, you said three? There were only two being mentioned!''
The last one was sort of a scam. The item was definitely on the schedule, and it involved ``chi sau'' or ``kokyu ho'' for two people, but there was no indication of what music to play. Then Justinn jumped in to drum, and then she started staring at me from her vantage point in front.
Ah hell, I had to play. So I just grabbed my D beidadi and improvised something in B-minor, with lots of low and long notes.
Successful performance aside, the location was hot and humid being located outdoors. I was sweating like crazy, and thankfully I always had my trusty 1/2-inch Micropore surgical tape. The Micropore tape is carefully stuck near the embouchure hole of the dizi where the upper chin/bottom of the lower lip rests to reduce slippage that can happen due to excessive amounts of sweat. This is an old trick I learnt from working with concert flutes.
All in all, I had a lot of fun at this performance. All I could remember in the build up to the event while travelling there on the chartered bus was this exchange in one of the John Wick movies:
John: Last words, Winston?And yes, I had fun out there.
Winston: Just have fun out there.
Till the next update.