BASIC GUIDELINES OF VOCAL CROWD MUSIC:
UNITY AND DIVERSITY

01. There is no need to know to read music, or even to have a previous musical experience to be a part of the crowd.
02. There is no need to be “in tune”, since absolute pitch would not be used at all.
03. All the components of the crowd part should be easy and could be taught in few minutes.
04. All components should be composed of a simple textual explanation and/or a graphical indication.
05. Conductor should use extremely simple gestures to communicate with the CROWD.
06. There should not be a "right" or "wrong" way to perform an element; each interpretation of an element is a result of a dialogue between conductor and crowd.
07. COMMUNICATION IS MORE IMPORTANT THAN INTERPRETATION.
08. the crowd is one, but sometimes might be divided into sub groups:
A) Division between men and women;
B) Division into segments of the crowd, depending on your position - left, center, right.
09. THERE IS NO MAXIMUM NUMBER OF PARTICIPANTS (only due to space limitations of the performing venue).
10. EVERYONE WHO WISHES TO BE APART OF THE CROWD CAN BE INCLUDED with the condition that he or she will respect the process of study, rehearsals and performance, and will use his or her voice to enrich the crowd - NOT to go against it.

The principals of the percussions crowd part:
UNITY AND DIVERSITY

SOUND AND BEAT

ACTION AND REACTION
VOICE AND INSTRUMENT

These are the sum-up of the role of the percussions crowd within REKA V2. Three couple of words which I would like to explain better:

UNITY AND DIVERSITY: Each element of the percussions part regard ALL percussions player and in a short time of rehearsals one of the most challenging tasks will be to create a united sound. By this I mean a collective interpretation which is a result of the different percussions, the different percussionists and their background but also the challenge of listening and feeling the others in order to express each one’s diversity, but also to strive to unity at the same time.

SOUND AND BEAT: Are more likely the most fundamental functions of the percussions. With a given beat you would be asked to form percussive patterns (or grooves, or rhythms), starting with just holding the beat till frenetic playing of precise parts that will be taught during rehearsals. But many parts will be based on sound, unmeasured sections or tremolo sections in which the key will be to create a sonic background(=REKA in hebrew) to others and as an artistic element by itself.

ACTION AND REACTION: Each element represent an action which should bring the most rich, unexpected and beautiful result. However, there are few reactions which will be asked during the score, especially reactions to the two percussions soloists on the stage: throughout your part you will find elements such as “echo percussions soloists”, “reflect percussions soloists” in which you are asked to listen and react musically at the same time.

VOICE AND INSTRUMENT: Most part of the score you will perform with your instrument/s. However, in some parts you would be asked to perform with your voice - especially rhythmic elements (a bit like tabla language or some Indonesian rituals).