### symmetrical dance examples

The seventh confers a definite function to the chord of which it is a part”. Tip: Ensure that multiple modalities for getting to know a concept are being offered, such as illustrations, videos, manipulatives, real-life objects, physical activities, diagrams, drawings, photographs, demonstrations and modeling. I generally recognized chords as having one of two functions, stationary and changeable (or fixed and mutable). For example, if four square dancers standing in a circle move one quarter turn clockwise, then they will end up making the same shape in space as when they began, each person taking the place of the person to their left. With a little work it can be as natural as any other internalized system. I named it Symmetry because the motion of the melodies involves an expansion and contraction of tones around an axis tone or axis tones (i.e. To reflect an object in dance means to produce its mirror image in relationship to a reflecting line that divides the space into two parts. A flat on the bottom and F on the top produces a major sixth. It is these resulting intervals that are formed in spiral number one (Unison, Maj 2nd, Maj 3rd, Tritone, min 6th and min 7th) that I call Symmetrical Intervals (see example 1). Since there is an absolute conception symbol in front of the upward determinant symbol, this alerts us that the second triad is constructed in absolute conception. This is a ‘terrestrial’ mode of thinking influenced by the fact that we live on Earth and tend to localize our concept of space according to our everyday situation. The second symbol tells us that the second triad’s generator is the same tone as the absolute downward determinant of the first triad, however since there is no absolute conception symbol present here this alerts us that the second triad is built ‘upward’ (i.e. A dance is an aesthetic entity existing in the four dimensions of space-time. Then A on bottom and D sharp on top, that’s an augmented fourth or a tritone. C, being the tonic) would become a determinant, first becoming the telluric adaptation determinant (i.e. Using the jump ropes as the line of symmetry, ask students to take a video of a partner moving his or her body symmetrically over the line. in telluric adaptation). Ab) becoming a tonic function is then listed next: On page 48 of “A Theory of Harmony” Levy shows the following progression (Examples 9 through 13): From this point on I will use the negative sign when speaking of chords in abosolute conception, e.g. It should be clear from Example 5 that it helps to be able to think at least two or three tones backward and forward in time. An example of symmetry tolerance is shown below. Later I adapted these improvisations to structures and forms. Also the 13th partial is listed as being A natural instead of A flat. Left-Right Reversal. The same tone that is the tonic (i.e. For example I looked at the fourth measure of a blues as “going to IV” (the IV referring to the dominant seventh chord based on the fourth degree of the key of the blues). It can be seen that each of the negative chords represent an extension or top part of the positive chords. upward major third): Create a dance in which multiple dancers rotate symmetrically around a point. G7 in absolute conception will be written as -G7. Students will often create animated moves that are translations, but not reflections. C-E-G thinking up from C), so symmetrical reasoning is necessary for thinking in absolute conception. And then you spiral out the same as you did in spiral number one. The table below (Example 7) is in shorthand symbolism and shows the progressions of triads and the change of function of the common tones. If tones C through B chromatically are represented by the numbers 0 through 11 respectively, then it is possible to ‘add’ tones together to arrive at their sums. Here the harmonic series is seen as ‘spiraling’ out from a ‘generator’ (as opposed to a tonic or fundamental) so as to produced both an ‘Overtone’ and ‘Undertone’ series (see example 6-a)! Provide a mirror for students to see themselves. All symmetry has two axis and in this system they are always a tritone apart from each other, more on this later. What happens if you make the angles the same? In Choreo Graph, what happens to the angles of rotation you select to move the body parts symmetrically? In Levy’s view the natural 7th is important for several reasons, “The seventh partial appears in the same octave within which the triad is completed by the introduction of the determinant.” It is Levy’s view that the natural 7th “reveals the latent dynamism of the triad.”. The downward triad would be C-Ab-F, (again C representing the numbers 1 and 2, F representing the number 3 and Ab representing the number 5). This describes the following progression (the direction of the tones are shown by the Í or È symbols): Using the first symbol group in the sixth line group below as an example (Sixth triads – Middle tones to determinant – Minor side – first group) the translation would be as follows: In the first line o d → describes a common tone that changes in function, the tone that is the absolute downward dominant of the first triad (i.e. Very few people can write easily with both hands. Body shapes are present in all actions in dance. Both dominant chords most naturally go to a tonic chord with F as the root, C7 -> Fmaj and -F7 -> -Cmaj, so they both progress to parallel tonic chords, e.g. According to Levy: Symmetry is a fact of nature and one of the oldest fascinations of humanity. Students will explore symmetry as a reflection over a line. Populate the room with books about symmetry, particularly in art. Where are your pivot points on your body? Thus we tend to look at the harmonic series only from the ‘bottom-up’ perspective, with the ‘fundamental’ on the bottom. A certain order of precedence exists, based in the first place on the greater ‘magnetizing power’ of the exterior tones, in the second place on the normal hierarchy of the functions tonic, dominant, and determinant. There are six possible solutions for each inversion. the generator of a triad constructed downward). To keep things moving I will skip this discussion of the tuning of the natural seventh, interested readers will find this discussion on pages 45 and 46 of Levy’s “A Theory of Harmony”. Remind them to think about the activities they did with their bodies as a point of reference. Exterior tones to tonic, Exterior tones to dominant and Middle tones to determinant). Shape is perhaps the strongest visual component in dance. Using the angles tool in the app, how can we make sure our moves are EXACTLY symmetrical? In literal mirroring, a term coined for th… I did this by slowly integrating the ideas with the more traditional improvisational style I was already playing. b) the minor seventh added to a minor triad in absolute conception characterizes it as the generator) of the second absolute conception triad (i.e. I began by writing symmetrical exercises for myself. Then you don’t have to make the equal movement in the opposite direction. The meaning is that the same tone that is the absolute tonic of the first triad (i.e. In Absolute Conception what is important is the position of the tones in space and their distance. Now, logically, you might think that the next tone you have to play is A, because if C is the axis and if the E flat is a minor third above C then you would think you have to play an A because A is a minor third below the axis tone C. But you can play C and E flat and then play B and E natural! (Í) Ab:F:C → (È) Db:F:Ab Approximately one thousand Q-tips were assembled together," explains designer Ayano Ueshima. For example, one person can straddle the rope on the floor and can position her/his body parts on each side of the rope so they are mirror images of each other. Levy also speaks a lot in psychological and sometimes almost mystical terms about music and music theory. Therefore, for all intents and purposes, when we are referring to absolute conception we are talking about ‘downward’ symmetrical thinking and this will be designated by the symbol o (there is no need to designate telluric symbols but in his book Levy sometimes uses the = symbol for telluric adaptation. upward major third): (Í) Ab:F:C → (Í) A:F:D, Then becoming the telluric adaptation determinant (i.e. Also a complete knowledge of intervals and their relationships (always thinking in terms of semi-tones) would be extremely helpful. Next in the spiral is B flat on bottom and D on top, that’s a major third. In fact this entire dominant 7th complex would be traditionally called a C11 b9 chord. thinking downward) can be substituted for D:F#:A:C (in telluric adaptation, i.e. The next tones in the spiral are B and C sharp, the interval between B and C sharp is a major second. the generator) of the second telluric adaptation triad (which is an upward constructed triad). For another example if you played G and consider the G as an axis and then play B flat as your next tone, then the following tone you play must be E. With G being the axis, B flat is a minor third above G and E is a minor third below G (see example 3 – measure 2 – beats 1 and 2). G on the bottom and F sharp on top, a major seventh; then the axis again, etc. All other tones are derived from some combination of these four functions. Tip: While sharing and presenting, always be mindful that the ways in which your second language learners present their ideas will vary according to their level of language acquisition. Note that beginning with the tones G flat on bottom and F sharp on top, the intervals of the spiral repeat themselves if you perform octave reduction on the intervals. The book A Theory of Harmony by Ernst Levy deals with a different approach to harmony and voice leading coming from a standpoint of using perfect 5ths, major 3rds and their reciprocals (perfect fourths and minor 6ths) or Polarity Theory. Examples of symmetrical in a sentence, how to use it. The ratio 11:8 (which is 11:1 sounded in the same octave as the generator) is 551 cents above the generator. 438 Num. Temperament arises from the necessity to represent the infinite within the definite. American Heritage® Dictionary of the English Language, Fifth Edition. Levy then derives all of his harmonic and voice leading theory from these two concepts, the only exception being his inclusion of the importance of the ‘natural 7th’ of the ratio 7:4. Absolute conception of the Harmonic Series based on the generator tone C. I just want to say a few things about the information series above. The seventh in the dominant seventh chord is the natural seventh (i.e. In terms of the four-six interval structure the cellular structure is designed thinking downward from F (i.e. (È) G:C:E → (È) Ab:C:Eb, Then becoming the absolute conception determinant (i.e. As you spiral out from C-C (the axis) and you think of the interval between the tones then C to C is a unison. This is a different skill than the normal way of thinking as retention of individual tones, as well as phrases, needs to be practiced. Next page: five more examples of symmetry in design. The -C7 and G7 chords are in the same relationship to each other. T ) describes the first triad, in this case it is a triad in telluric adaptation (i.e. Here the three chords function as negative dominant, positive dominant, positive tonic (-C7 to G7 to Cmaj). The meaning here is that the same tone that is the absolute downward determinant in the first triad (i.e. We will see that it is the dominant seventh chord in ‘absolute conception’ with the tonic of the key as generator which can be substituted for the dominant 7th chord in ‘telluric adaptation” built on the fifth degree of this same tonic. I instinctively knew that all of these sounds could be played in place of a normal dominant to tonic chord progression. In order to resolve the square - in other words, get every dancer back to their original partner to Promenade Home in the correct order - there are several important details about the dancers' positions that a square dance caller must recognize and manipulate. The seneric intervals are the octave, perfect fifth and major third, corresponding to the numbers 2, 3 and 5. The elements of dance: Part 1 Space Shape 1 Shape is an aspect of the element of space. The first symbol of the third line (i.e. Using a jump rope on the floor as a line of symmetry, have students work together to create reflections along this line. Also note that this is the first numbers of the Fibonacci sequence. Does the movement still show symmetry? The most obvious kinds of balance that come to mind are the various forms of symmetry (i.e. (Í) F:C:Ab → (È) Ab:C:Eb, Next would be these same exterior tones becoming a dominant function, beginning with F: When you spiral out with the B on the bottom and the D on top, you have the interval of the minor third; with an B flat on the bottom and E flat on the top the interval is a perfect fourth. And changeable ( or center point ) between the tones in the undertone series we don ’ have. 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