Music and the 8BC System - Portland Community...

Music and the 8BC SystemCatch Phrase: Decoding and Mapping What We Dance to

“Music is the festive dress of silence”Chamalu

3Principle

2 | Nia White Belt Learn

IntroductionWhen we began, we wanted to create Nia in a way that

addressed the entire human being – body, mind, emotions

and spirit. At the time, in 1982, there was nothing but hard-

er, faster, impact-laden styles of getting fit. Nia was radically

different in that we encouraged people to choose Joy and

allow their authentic spirit to come through in class. People

thought we were crazy.

When we began, we wanted to create Nia in a way that

addressed the entire human being - body, mind, emotions

and spirit.

We view Nia through the triad of Music, Movement and

Magic. Music is the canvas upon which the body moves.

Magic is what happens inside you. We do not divide Nia

into 33.3% music, 33.3% movement and 33.3% magic.

Rather, each is 100% valued. When you masterfully con-

nect music and movement, magic is created.

Imagine every cell in your body is an ear. As you use your

body to listen to music, sound impacts you on a kinesthetic

level. Your body instinctively responds to the music it hears,

and if left to its natural impulses, will move effortlessly to it.

When you masterfully connect music and movement,

magic is created.

When listening to music, physically practice receiving

music. This means investing total attention in the music

and appreciating the details within a song. Listen for a light

or heavy beat. Listen for highs, lows, the separate sounds

of various instruments, for the melody, the chorus and for

repetitions as well as surprises.

If necessary, use headphones or sit closer to the speakers

to enhance hearing. Your ability to hear and track many

sounds will improve over time. As you become more aware

of music and use it as an inspiration, your movement will

grow easier and more powerful. Ideally, you want to be

able to hear the detail of your music while remaining aware

of your body.


Voice of

Body

To your physical body, I touch you through resonance and

vibration, creating geometric patterns that flower into a

dance of light. As you listen to me, I awaken the ears of

your skin, music as sensation felt by your body. I leave an

encoded imprint of sound and numbers in your cells. I have

a physical structure, a form and a function. My individual

parts work together just like your body parts work together

to express the whole. My parts are resonance, vibration,

tone, frequency, note, rhythm, melody, harmony, syncopa-

tion, beat, rest and silence.

Mind

To your mental body, I provide a system to track sound.

I provide a mental grid on which to visually record the

geometric patterns of sound. I transcribe sound into space,

on paper, through bodies and minds. Connect to me, work

with me and relax your thinking mind. With me you enter

deeply into listening as a way to enhance your dance, cre-

ate, guide and teach others to feel.

Emotions

To your emotional body, I trigger the release of energy from

deep within you. If you listen to me, if you use me to move

you, I can awaken you to deep-rooted feelings and emo-

tions that are waiting to be released and expressed. My

resonance and vibration can trigger anger, Joy, love, peace,

hate, rage, seduction, boredom, nurturing and agitation. I

take you on a healing energy ride.

Spirit

To your spiritual body, I give rise to the unique personal-

ity of every song. Allow me to move you and help you

play with the sound and feeling of music. I stimulate and

motivate sound to express itself through your body in an

organic and alive way. I am multi-gendered, male, female,

goddess, warrior. I can become anything you wish. Play

with me and discover endless personalities within you to

release creativity and your expressive self.


ScienceThe sound of music is one of the most powerful underlying creative forces in our universe. It is a powerful resonance

that lies deep within the very heart of creation and existence. It is considered to be one of the oldest healing forms used

by the Greeks, Chinese, East Indians, Tibetans, Egyptians, American Indians, Mayas, Incas and Aztecs. Music is tangible!

Sound vibrates your nervous system and creates sensation in your body. The physical resonance in your body creates en-

ergy and triggers chemical responses that have both positive and negative effects on the body, mind, emotions and spirit.

Music touches souls and awakens spirits.

Here are some additional tidbits regarding the power of music:

•Music therapy exercises used in convalescent homes teach seniors to tap out rhythms, which helps them re-establish

muscular coordination.

•Physicians and psychiatrists rely upon rhythm’s metronomic qualities to help patients gain motor skills, improve eye-

hand coordination, relax, alter states of consciousness and improve concentration.

•C.M. Diserens, an experimental psychologist, discovered that music could reduce or delay fatigue and thus increase

muscular endurance.

•P. Bingham concluded that musical compositions not only produced a mood change in the listener, but also induced

a markedly uniform mood in a great number of people in a given audience. The feelings most frequently elicited

by music were those of rest, joy, sadness, love, longing and reverence. The “negative” emotions experienced were

anger, jealousy and envy.

•An article in the Teachers College Record reported that music helped increase learning behaviors of mentally chal-

lenged and emotionally disturbed children, especially in mathematics.

• In his book, Your Body Doesn’t Lie, Psychiatrist John Diamond demonstrates through muscle testing, biofeedback

and electro-acupuncture that certain selections of music can either strengthen or weaken peoples’ muscles. There-

fore, you can enhance the outcome of your physical movements using music that stimulates and/or relaxes the body.

Music and sound can create healing energy and vibrations that motivate movement, promote relaxation, guide

choreography and connect you to divine essence. Working with rhythms and resonance intelligently makes teaching

easier and more powerful.


CraftThe 8BC System is a notation system used in Nia to become intimate with the structure and flow of the music we use.

By intimately knowing your music, you are free to teach rather than count and your music becomes a resource to create

a powerful experience. The 8BC system is the roadmap you use to visually format the structure and landmarks of your

music and choreography.

Music and The 8BC System Decoding and mapping what we dance to

Bar

Beat Count


The 8BC System

Nia uses music as a transformational and healing tool to

create an environment of beauty, to touch and heal bod-

ies, emotions, minds and spirits. Listening to music and

using a notation system known in Nia as “bars” connects

you intimately to your music. Connecting to the details of

your music enhances your movement, which becomes an

auditory experience. As you come to master understand-

ing music, music becomes a resource, a medium to raise,

lower, stimulate, or calm energy. Music is one of the most

powerful tools to move groups of people effortlessly.

The Nia 8BC System is a map, a logical and creative

notation system. It is a tool to comprehend and move

toward the flow of music. The 8BC system is a vehicle

to awaken your senses and energy to the subtleties of

musical vibrations. It creates a relaxed environment that

invites you to remain fully present to your movement.

This system teaches you to effectively use the natural

landmarks in music. It helps you understand the struc-

ture, flow, energy and artistic intention of the musicians.

Once you understand the 8BC system and how to use it,

you’ll maintain rhythm and surf the relationship between

your body, space, time, sound and your students.

The 8BC sheet is the roadmap to structure and landmarks

of your music. Just as a musician works with music

sheets, you’ll use your 8BC sheets to note your music

and choreography. The elements that comprise the 8BC

System are as follows:

BeatThe beat is the single heartbeat that pulses throughout the

song.

CountOne count is equal to two beats.

BarOne bar is equal to eight counts (or 16 beats). It is

counted aloud as follows: 1-and-2-and-3-and-4-and-5-

and-6-and-7-and-8-and.

SectionsSections refer to the different parts within a song, such as

Introduction, Vocal, Chorus, Solo and Other

Nia RoutinesA Nia Routine consists of 50-60 minutes of continuous,

highly structured and precisely organized Nia choreogra-

phy to a specific playlist of songs.

Body of WorkBody of Work refers to the Nia Routines one can choose

from, offering variety while still following the structure of

a Nia class and delivering the Nia Promise.

RhythmRhythm is the pulsing, recurring repetition of a beat. Its

strong accent supports movement and stimulates primal,

physical energy. Rhythm is the masculine energy, or yang

energy.

MelodyMelody is the organized sequence of tones that produce

a distinct musical phrase. It is usually created by the

same voice or instrument and is the principle part in a

harmonic composition. Melody is the feminine, the Yin

energy. It stimulates relaxation, expansion and emotions.


8BC Chart


Relaxed, Alert, and Waiting (RAW)

The Nia White Belt introduces you to music appreciation through practice of the state of being we call “Relaxed, Alert

and Waiting” (RAW). In the state of RAW, you learn to place 100% of your attention on listening for silence and sound.

Sounds come out of silence and return to silence. RAW is an optimal state through which we may receive music.

RAW

“Relaxed” refers to one’s physical state. The spine is

upright and the body is toned, yet supple and relaxed.

There is an absence of tension. “Alert” refers to one’s state

of mind. Although our body is relaxed, it is not collapsed,

nor is our mind sleepy. “Waiting” refers to an attitude

of wonderment, a state where one is open and curious

to whatever arises in the music. Rather than assigning

opinions such as “it is good music; bad music; music I

like; music I dislike”, one simply hears exactly what is

occurring. This is the practice of the state of RAW for the

purpose of music appreciation.

Sustain this internal silence when you listen. Listening

is the foundation for true relationship. Remember that

although the song may be the same, you are different

from the last time you listened. This allows you to hear

something new. After listening this way, notice your body

sensations. We call this the sensation of RAW. With prac-

tice, it will become easier to reach this sensation. RAW

and the language of sound prepare you to relate to music

on a deeper level.


EmbodimentWithout this deep connection to the music, our movement will not advance as quickly. When you become intimate with

the music, your ability to dance increases exponentially. The Nia White Belt has three foundational triads: 1) Body, Mind,

Spirit; 2) Science, Craft, Art; and 3) Music, Movement, Magic. Each aspect of each triad is equally important; one without

the others is not complete. With Music, Movement, Magic, it is not enough to just learn the Movement. Without study-

ing the Music, the Magic is unlikely to happen. We develop an intimate relationship with the music by mastering the Nia

8BC system.

Exercise 1: Practice RAW

While practicing the state of Relaxed (body), Alert (mind),

and Waiting (spirit) – RAW – play any music and listen

for sounds and silence.

Exercise 2: Find the Beat

To begin developing an intimate relationship with music,

first develop your skill in finding the beat, count and bar

as you listen to a variety of songs. Always begin by find-

ing the beat. Play a song and begin to move your fist with

the beat. Beat, beat, beat, beat, beat…

Exercise 3: Find the Count

Next, find the count. A count is equal to two beats. Play

the same song and using your hand, mark the first beat

up high (heart height) and the second beat lower (belly

height). This rhythmic system of two mirrors the organic

cycle of movement with rest. Often the first beat is a light

“up” beat, while the second beat is the sound of a snare

drum, also known as the “back beat”. Up, down, up,

down, up, down, up, down…

Exercise 4: Find the Bar

The next step is to find the bar. One bar is equal to eight

counts (or 16 beats). Play the same song, using your hand

again to mark the counts (up and down, just as before).

When you feel the “1” beat, begin counting as your hand

moves. “1-and-2-and-3-and-4-and-5-and-6-and-7-and-

8-and.” Voila! You’ve found a bar! Now keep going and

raise your hand a little higher still (head height) every

time you feel the “1”.

Exercise 5: Draw the Bars

Once you have found the bar with your hands, it’s time to

begin creating your map by putting it down on paper. Be-

Recall1. What is the triad for Principle #2?

2. What does the number 13 represent in

the Natural Time code?



4. Which joint is considered joint #8?


2 4

3

fore you move on, however, review the notations that are

included in the 8BC System. Visually, bars are symbols,

ways to note value. A bar represents eight counts (16

beats). Each time you count “8-and”, mark a single verti-

cal line, the symbol of a bar, on your sheet of paper. Mark

only on the “8-and” (not earlier) in order to stay on track.

As a practice, note single bars only. There is no need to

write down instruments or choreography yet.

FractionsThe only exception to writing single bars is when you

hear a fraction. A fraction occurs when there are fewer

than the usual 8 counts before an obvious “1” beat

comes along (denoting the beginning of the next bar). In

the case of a fraction, instead of drawing a vertical line

(bar), write the number that represents how many counts

took place before the next bar began (e.g. 4). Continue to

stay RAW and stick with it. You will likely code each song

several times.

SectionsAs you draw your bars, do your best to group your bars

into color-coded Sections. Use the color black for Intro-

duction, red for Vocals, blue for Chorus, green for Solo,

and black again to note Other. If this is too overwhelming

the first time through, simply focus on doing the bars and

fractions in black ink. As you listen to the song again, you

can begin to decode the sections.

Flowering the BarsInstead of writing a new set of bars each time you listen

to a song, draw petals on the bars with the appropriate

color revisions (as needed). This is known as “flowering

the bars”. Listen as many times as necessary to feel con-

fident about the sections you have noted. The first petal

should be drawn on the bottom left of the bar. The sec-

ond petal should be drawn on the bottom right of the bar.

The next time however, instead of drawing a petal, place

a single dot below the bar. From there, if you continue to

go through the same song again, begin the next petal to

the left of the dot (then the right, etc.).

1.

2.

3.

4.

5.


Bongos

Bass

<

“Hey!”

“Hey!”

Synth (watery)

Snare

*

Shakers

~~~

Recapitulate1. What is the triad for Principle #2?





4. Which joint is considered joint #8?

Dressing the BarsAs you continue to listen to the song, begin to add more detail to your bars by noting obvious musical changes (instru-

ments, sounds, silences, textures, etc.) that occur at the top of the bars (on the “1”). Next, listen again and note any obvi-

ous musical changes that occur at the bottom of the bars (around the “7-and-8-and”). Finally, note any obvious musical

changes that occur in the middle of the bar. You may note the sounds in any way that makes sense to you. If you don’t

know the name of the instrument, simply note something (a word, symbol or drawing) that represents what it sounds like

to you. You now have a visual roadmap and layout of your music that reflects the musician’s composition.


ArtThroughout your day, allow yourself to become fasci-

nated with the sounds and silences of life. Practice the

state of Relaxed, Alert and Waiting (RAW) while waiting

for the bus, waiting in line at the grocery store, waiting

for the pizza to cook, or waiting for a lecture or movie to

begin. Sit or stand with an upright spine while allowing

your body to become physically relaxed, your mind alert

and your spirit waiting. Pay attention to the sounds and si-

lences of life. Practice sustaining this state for longer and

longer periods of time in order to condition your nervous

system and heighten your throughout your day.

My StoryAs you read about, practice and embody Principle #3, Mu-

sic and the 8BC System, take some time to describe your

personal story. How has Principle #3 affected your life?


A Personal StoryAgeless and Strong with Nia – 74-Year-Old Nia Teacher Dances Through LifeI was 58 years old and about 20 pounds overweight

when I took my first Nia class in 1991. I was certain that

I would be the oldest and fattest person in the class, and

I wasn’t! The class was full of all ages and types of people

– young, old, fit, becoming fit – and I was made to feel

completely welcome, like I belonged there. I left that

first class feeling exhilarated and inspired to come back

for more. From the spark ignited in that first class, Nia

became a great part of my life and I eventually became a

Nia teacher at age 71. I will be celebrating my 75th birth-

day in January 2008 and I may be the oldest Nia Teacher

practicing and teaching, which is a great testament to the

power of Nia for people of all ages.

I’ve been an actress and dancer since I was a child.

When I discovered Nia, I was acting and going on tours,

sometimes for six weeks. As soon as I’d get home from a

tour, I’d go downtown for my Nia class “fix”. The more I

danced Nia, the more I noticed that little aches and pains

disappeared. I even lost weight and toned up. Mostly it

was fun. I enjoyed the playfulness, the exploration, and

the invitation to find my own expression.

Then, in January of 2004 when I was turning 71, I took

the White Belt Intensive. For some time, my friends at Nia

had been telling me that I would love the White Belt, and

Debbie and Carlos assured me I’d be able to handle it in

spite of my advanced years. I took the plunge. What an

extraordinary experience it was, putting much of what I’d

learned in a new context – bringing it all together – and

adding new information.

In the White Belt I began my journey into a deeper un-

derstanding of music, a deeper understanding of how and

why Nia taps into Joy. It was so beautiful for me to con-

nect with the other White Belt students, who accepted

me fully, even though I was eldest in the group.


Before I went into the White Belt Intensive I had no inten-

tion of teaching Nia. Yet, during our last exercise of the

White Belt, as we were FreeDancing (letting the music

and our bodies guide us), I felt an intuitive hit to be a

Nia Teacher. I’ve learned to trust moments like this. I had

been teaching one thing or another most of my life, so

why not teach Nia?

I started teaching shortly after receiving the White Belt.

Teaching gave me a new and deeper level of experienc-

ing the benefits Nia has to offer. I have become stronger

and healthier in body, mind and spirit from teaching. Just

recently, a student remarked that I seem so calm despite

situations that could be quite upsetting. I attribute this

to the centering and balancing techniques I practice. I

have become a better dancer, yogi and listener of music

through my Nia practice.

I have become a better dancer, yogi and listener of music through my Nia practice.

I teach people of all ages. My “seniors” – aged 55 and up

– relate to me as a contemporary who is an example of

their possibility. It is most gratifying to see them over-

come difficulties in balance, stiffness in joints and other

age-related conditions. They love the non-competitive

atmosphere and the invitation to choose their own level

of activity. Some of my students are quite lonely, having

lost their spouses, and take Nia classes for the community

spirit. In fact, one of my classes has instituted a practice

of going to the coffee/tea room after class to share snacks

and conversation.

The classes I teach at a community college are equally

exciting. Younger people tell me I inspire them; they want

to be just like me when they get to be my age. One of

the requirements of the community college Nia course

is to keep a journal of their Nia experience. From those

journals, I could put together a book of the miracles that

have occurred through people dancing Nia.

I’ve gone on to take other Nia Intensives: Blue Belt,

Brown Belt and two FABs (For All Belts). Each Intensive

has been healing, energizing, informative and transforma-

tional. I will continue to study as long as I can. Somehow,

I seem to be getting stronger and younger instead of older

and weaker. Does Nia have anything to do with this? Yes!

Kaycheri Rappaport, Portland, Oregon, United States

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