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The tree of life the model that allowed me to explore my song.
Imagine a medium -sized tree with deep roots that enter the earth, strong, thick, solid and in the upper branches and luxuriant branches that stand out towards the sky, here, this is one of the models in which I transformed myself during the vocal performances at the internal of historical and archaeological places.
As in the metamorphosis of Ovid where everything changes in a becoming of figures or as in the alchemical cards of Giordano Bruno where the images serve to tear the time by continuously activating the memory between the symbols of the past and the events of the future.
The voice transports us to pass a constant present and allows you to connect our essence with an "other" space, inside and outside of us.
All this recalls an ancient powerful symbol such as "The tree of life" or tree of knowledge that in the Jewish cabal is linked to the formula of existence and creation with the perpetual flow from the divine to the earth and with the return to the divine, much value important regardless of the type of vocal language we use.
The tree consists of ten sefira (spheres) linked together by twenty -two communicating paths. The left part of the tree represents the female aspect of creation and the right part of the male part. The word Sefira also takes on other meanings such as number, story, stone, light and therefore, the voice, not only produces sound frequencies that are numbers, but tells our track and our history.
If I wanted to wear "the tree of life" during my performances, in places and in space, I would imagine the sefira as harmonics of the voice that are composed by mixing instinct, intuition, knowledge and awareness. The combination of these elements goes hand in hand with the contrasting forms of the soul by controlling and continuously balanced the opposite poles such as good and evil, power and humility, wisdom and ignorance (Giordano Bruno - La Cabala)
"As above so at the bottom" is one of the mantras that often accompanies my vocal path during performance in historical places.
I shortly describe the first part of the preparation every time I enter these spaces: after identifying the archaeological site or the natural site that I want to explore, first of all I take inspections alone and I spend a lot of time observing the architecture, the material from which The form are composed and finally listen to the type of reverberation.
I stop at a precise point and I transform myself into the tree of life, I try with the voice to issue sounds and I understand the frequency of resonance of the place, I look for the silences and listen to the nature that surrounds the building: the sea, the birds, the wind or other types of landscapes around. The emission of the harmonics gives me the opportunity to connect with the architectural frequencies and establish heights and shades. I move and seek other stations.
I look at the natural light that enters some parts of space and therefore I understand how the "ancient" knew the relationship between architecture, music, frequencies and much more very well. Finally I reflect on which musical instruments, beyond the item, are most suitable for the type of space, including the materials of the place itself (stones, shells, rocks etc.).
After spending several hours to absorb the soul and history of the environment, return and plan the composition Canovacci - execution leaving the musicians total freedom of improvisation.
Watch the video The voice in the ancient spaces - Marco Francini
Watch the video The voice in the ancient spaces - Relationship and improvisation
Read also the article: Mauro Uberti: example of passion and research
