1. The change in pitch of a tap does not depend entirely upon "where" in the grid the student strikes the floor. Given that the surface is a factor, what is surpising is that the approach, the duration of contact and the bounce or rebound of the foot affect the pitch as well. Several students including BH and BS - both advanced students - were creating tones using various grid points that all fell within the same sonic range - the bass frequencies.
While loosening the taps 1/4 turn helped to create tones that filled more frequencies, I saw the most change in guiding the dancers toward producing a tone that was extremely short in duration that culminated in a sharp rebound from the floor. AG's concept of "lift" worked to help dancers begin to power the rebound. In the course of two sessions, BH was able to move from producing tones on simple steps and heels almost entirely in the bass range, to producing a strike point that fell more near a mid-range and produced sound across the entire spectrum.

2. Dancers who produced tap tones in one range only both reported that they were not aware that they were not pinging other tones. BH and BS in particular indicated that they did have trouble with dynamics and now were able to visually apprehend and begin to then develop an ear for hearing other possibilities in their feet.

3. Given that the approach and application of force to a movement affects the dancer's soma, it was not surprising to discover that changes in these elements "felt" different to injured dancers. What was interesting is that BH, afflicted with a >>>>>>>, had not understood any of the verbal cuing work I had done in directing her toward sending her energy "up and out" or toard "opening the tap" or sound. I believe this may have contributed to her knee problems. Instead of bouncing the sound out into space, she consistently pressed it down and into the floor.

4. The coordination of both visual and aural feedback is almost magical. Dancers are able to make changes in a remarkably short period of time. Most of these changes feel new and like "discoveries" to the students. As a point of DLLDirection I am finding it important to note the changes and ask questions as to "the difference it makes." LW was able, using both visual and biofeedback, to understand an imbalance in her shuffles - with the left foot constantly taking a ron de jambe on the approach and the right approach from the top. She spent about 14 minutes in the lab working on making a significant change in the approach of the left foot. This was only possible given the biofeedback equipment.

5. All students have reported that they can now "hear" differences in rhythms that at one point sounded symmetrical and balanced (3 days into the class, 5/10/08).

Created by admin. Last Modification: Thursday 24 of July, 2008 08:56:22 CDT by brian.