{"id":2517,"date":"2026-09-10T00:58:59","date_gmt":"2026-09-10T00:58:59","guid":{"rendered":"https:\/\/legatto.space\/?p=2517"},"modified":"2026-09-10T01:59:20","modified_gmt":"2026-09-10T01:59:20","slug":"circle-singing","status":"publish","type":"post","link":"https:\/\/legatto.space\/en\/circle-singing\/","title":{"rendered":"Circle Singing: what it is and how to create music with other voices"},"content":{"rendered":"<!-- =========================================================\n     LEGATTO SPACE \u00b7 CIRCLE SINGING\n     Beaver Builder \u00b7 HTML Module\n     El H1 lo aporta el t\u00edtulo del post en WordPress\n     ========================================================= -->\n<style>\n\/* =========================================================\n   ROOT\n   ========================================================= *\/\n.legatto-circle-singing{\n    --cs-black:#141414;\n    --cs-dark:#212121;\n    --cs-sun:#f6c703;\n    --cs-white:#ffffff;\n    --cs-text:#282828;\n    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=========================================================\n   SOURCES\n   ========================================================= *\/\n.cs-sources{\n    background:var(--cs-black);\n    color:var(--cs-white);\n    padding:clamp(32px,5vw,50px);\n    margin:70px 0 0;\n}\n.cs-sources h3{\n    color:var(--cs-white);\n    margin-top:0;\n}\n.cs-sources p,\n.cs-sources li{\n    color:rgba(255,255,255,.66);\n    font-size:14px;\n}\n.cs-sources a{\n    color:var(--cs-sun);\n    font-weight:800;\n}\n.cs-sources ul{\n    padding-left:19px;\n    margin-bottom:0;\n}\n.cs-sources li{\n    margin:10px 0;\n}\n\/* =========================================================\n   CTA\n   ========================================================= *\/\n.cs-cta{\n    border:1px solid var(--cs-black);\n    padding:clamp(35px,6vw,65px);\n    margin:55px 0 20px;\n    display:grid;\n    grid-template-columns:1fr auto;\n    gap:40px;\n    align-items:center;\n}\n.cs-cta h3{\n    font-size:clamp(25px,3vw,35px);\n    margin:0 0 10px;\n}\n.cs-cta p{\n    margin:0;\n    max-width:700px;\n}\n.cs-cta a{\n    display:inline-block;\n    background:var(--cs-black);\n    color:var(--cs-white);\n    padding:15px 24px;\n    border:1px solid var(--cs-black);\n    text-decoration:none;\n    font-size:12px;\n    text-transform:uppercase;\n    letter-spacing:.1em;\n    font-weight:800;\n    white-space:nowrap;\n}\n.cs-cta a:hover{\n    background:var(--cs-sun);\n    border-color:var(--cs-sun);\n    color:var(--cs-black);\n}\n\/* =========================================================\n   RESPONSIVE\n   ========================================================= *\/\n@media(max-width:800px){\n    .cs-intro-grid{\n        grid-template-columns:1fr;\n        gap:20px;\n    }\n    .cs-loop-field{\n        min-height:300px;\n    }\n    .cs-layers{\n        grid-template-columns:1fr;\n    }\n    .cs-listen-grid{\n        grid-template-columns:1fr 1fr;\n    }\n    .cs-listen-item{\n        border-right:0;\n        border-bottom:1px solid rgba(255,255,255,.1);\n    }\n    .cs-instrument{\n        grid-template-columns:1fr 1fr;\n    }\n    .cs-gold-grid{\n        grid-template-columns:1fr;\n    }\n    .cs-cta{\n        grid-template-columns:1fr;\n    }\n}\n@media(max-width:520px){\n    .legatto-circle-singing{\n        font-size:16px;\n    }\n    .cs-intro{\n        padding:32px 25px;\n    }\n    .cs-loop-field{\n        transform:scale(.82);\n        margin:-15px 0;\n    }\n    .cs-listen-grid,\n    .cs-instrument{\n        grid-template-columns:1fr;\n    }\n    .cs-step{\n        grid-template-columns:1fr;\n        gap:5px;\n    }\n}\n@media(prefers-reduced-motion:reduce){\n    .cs-loop{\n        animation:none !important;\n    }\n}\n\/* =========================================================\n   EDITORIAL IMAGES\n   ========================================================= *\/\n.cs-editorial-image{\n    margin:55px 0;\n}\n.cs-editorial-image img{\n    display:block;\n    width:100%;\n    height:auto;\n    max-height:620px;\n    object-fit:cover;\n    filter:saturate(.82) contrast(1.04);\n}\n.cs-editorial-image figcaption{\n    margin-top:11px;\n    font-size:12px;\n    line-height:1.55;\n    color:var(--cs-muted);\n}\n.cs-editorial-image figcaption a{\n    font-weight:700;\n}\n<\/style>\n<article>\n<!-- =========================================================\n     INTRO\n     ========================================================= -->\n<section>\n                Voice \u00b7 improvisation \u00b7 collective listening\n            <h2>\n                What is Circle Singing?\n            <\/h2>\n            \n                Imagine someone singing a phrase of just three notes. Several people repeat it. Another voice joins in, playing a bass line. Someone adds rhythm with their mouth. Another person finds a harmony, and little by little, what was silence just seconds ago begins to transform into music.\n            \n                <strong>Circle Singing is a collective vocal improvisation practice in which a group builds music in real time through repeated phrases, rhythm, harmony, melody, listening, and response between voices.<\/strong>\n                a<br \/>canci\u00f3n\n            pulso\n            armon\u00eda\n            melod\u00eda\n            ritmo\n<\/section>\n\n    A diferencia de una interpretaci\u00f3n coral preparada previamente, aqu\u00ed la\n    composici\u00f3n sucede mientras la cantamos. Cada participante puede sostener\n    una peque\u00f1a pieza del conjunto hasta que muchas ideas sencillas empiezan\n    a comportarse como un solo organismo musical.\n\n\n    No hace falta llegar con una canci\u00f3n aprendida, leer una partitura o conocer\n    teor\u00eda musical. El material puede surgir de una s\u00edlaba, una respiraci\u00f3n,\n    una palabra, dos notas, un ritmo o incluso un silencio.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/www.gwen-m.fr\/images\/photo-stage-circlesong-gael-aubrit.jpg\"\n        alt=\"Grupo participando en una sesi\u00f3n de Circle Singing e improvisaci\u00f3n vocal\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        A vocal improvisation circle: musical ideas are transmitted through listening, repetition, and response. Image:\n        <a href=\"https:\/\/www.gwen-m.fr\/actualites\/improvisation-vocale\/\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            Gwen M \u00b7 Improvisation Vocale\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    The contemporary term <em>circle singing<\/em> It is often associated especially with the vocal work of Bobby McFerrin, who developed his own style over decades. <em>Circlesongs<\/em> y ayud\u00f3 a popularizar este lenguaje de\n    improvisaci\u00f3n coral. Sin embargo, cantar colectivamente, utilizar\n    llamada-respuesta, repetir patrones y construir m\u00fasica de manera\n    participativa aparece en m\u00faltiples contextos musicales y culturales.\n\n\n    Por eso resulta m\u00e1s interesante entender Circle Singing como una\n    <strong>contemporary way of organizing collective vocal play<\/strong>,connected to a much broader territory of community singing, improvisation, and oral learning. Projects such as\n    <strong><a href=\"https:\/\/makemusicday.org\/national-projects\/circle-singing\/\"\n    target=\"_blank\" rel=\"noopener noreferrer\">Make Music Day<\/a><\/strong>\n    They present it precisely as an experience of spontaneous creation where harmonies, rhythms and melodies appear without prior preparation.\n\n<!-- =========================================================\n     HOW IT WORKS\n     ========================================================= -->\n<h2>How a voice wheel works<\/h2>\n\n    Una sesi\u00f3n puede tomar muchas formas. Algunas est\u00e1n claramente guiadas por\n    una persona facilitadora; otras distribuyen la iniciativa entre todo el\n    grupo. Para comprender su l\u00f3gica podemos empezar con una versi\u00f3n muy\n    sencilla.\n\n        01\n            <strong>A cell appears<\/strong>\n            Una persona propone una frase corta: quiz\u00e1 tres notas, una s\u00edlaba\n            o un peque\u00f1o patr\u00f3n r\u00edtmico.\n        02\n            <strong>It becomes a loop<\/strong>\n            Un grupo repite esa idea. La repetici\u00f3n crea estabilidad y deja\n            espacio para escuchar lo que ocurre alrededor.\n        03\n            <strong>Another layer arrives<\/strong>\n            Puede aparecer un bajo vocal, otra respuesta r\u00edtmica, una nota\n            larga o una segunda frase.\n        04\n            <strong>The music starts to move<\/strong>\n            Las capas cambian, desaparecen o dejan espacio para una melod\u00eda\n            libre. La composici\u00f3n se transforma mientras sucede.\n\n    En una rueda facilitada, una persona puede dividir el c\u00edrculo en peque\u00f1as\n    secciones y entregar un patr\u00f3n diferente a cada una. Despu\u00e9s escucha el\n    resultado completo: puede bajar una capa, detener otra, modificar un ritmo\n    o abrir espacio para que alguien improvise.\n\n\n    Lo interesante aparece cuando dejamos de pensar \u00fanicamente en\n    <em>&#8220;qu\u00e9 estoy cantando yo&#8221;<\/em> and we started to listen\n    <strong>What does the music we are all building together need?<\/strong>.\n\n<!-- =========================================================\n     LISTENING\n     ========================================================= -->\n<section>\n    <h2>La magia no est\u00e1 en cantar &#8220;perfecto&#8221;<\/h2>\n    \n        Circle Singing funciona especialmente bien cuando el grupo desarrolla\n        una habilidad menos espectacular, pero mucho m\u00e1s poderosa:\n        escuchar.\n    \n            \u25c9\n            <strong>Listen before adding<\/strong>\n            \u21bb\n            <strong>Repeat with intention<\/strong>\n            \u00b7\u00b7\u00b7\n            <strong>Leave gaps<\/strong>\n            \u2248\n            <strong>Supporting other voices<\/strong>\n            \u219d\n            <strong>Transform the mistake<\/strong>\n<\/section>\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/images.squarespace-cdn.com\/content\/v1\/5ad86fafe2ccd1757bccd81a\/1760027715624-4GPCVPT2YZT5S1BVZSX5\/384-VOCES8%2BMASS%2B2025%2BSMALL.jpg\"\n        alt=\"Personas explorando voz, expresi\u00f3n y canto colectivo en un taller\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        Singing together can also be play, movement, experimentation, and listening. Image:\n        <a href=\"https:\/\/voces8.foundation\/summerschool\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            VOCES8 Foundation\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    Cantar m\u00e1s cosas rara vez significa crear una m\u00fasica m\u00e1s interesante.\n    Una frase min\u00fascula puede resultar extraordinaria cuando encuentra el\n    lugar correcto dentro del conjunto.\n\n\n    Una de las primeras habilidades que aparecen es aprender a\n    <strong>repeat without abandoning listening<\/strong>. Mientras tu voz mantiene\n    una figura constante, tu atenci\u00f3n contin\u00faa abierta al pulso, a la\n    respiraci\u00f3n colectiva y a las dem\u00e1s capas.\n\n\n    Tambi\u00e9n aprendemos a dejar espacio. Quiz\u00e1 la mejor contribuci\u00f3n durante\n    algunos segundos sea simplemente seguir escuchando.\n\n\n    Y cuando alguien entra antes de tiempo, cambia accidentalmente una nota o\n    pierde el patr\u00f3n, el acontecimiento puede convertirse en nuevo material.\n    Repetir una variaci\u00f3n accidental puede transformarla en una idea musical.\n    Escucharla permite decidir si queremos conservarla, modificarla o dejarla\n    pasar.\n\n<!-- =========================================================\n     RULES\n     ========================================================= -->\n<h2>A song without sheet music that does have rules<\/h2>\n\n    Improvising freely doesn&#039;t mean everything happens randomly. A piece can rely on a few very clear musical elements.\n\n<table>\n    <thead>\n        <tr>\n            <th>Element<\/th>\n            <th>Function<\/th>\n            <th>Simple example<\/th>\n        <\/tr>\n    <\/thead>\n    <tbody>\n        <tr>\n            <td>Pulse<\/td>\n            <td>It provides a common time reference.<\/td>\n            <td>Gently tap four pulses with your body.<\/td>\n        <\/tr>\n        <tr>\n            <td>Ostinato<\/td>\n            <td>Create a recognizable shape through repetition.<\/td>\n            <td>Cantar &#8220;dum &#8211; da-da &#8211; dum&#8221; una y otra vez.<\/td>\n        <\/tr>\n        <tr>\n            <td>Harmony<\/td>\n            <td>It adds depth by combining different heights.<\/td>\n            <td>One group holds a note while another sings a phrase.<\/td>\n        <\/tr>\n        <tr>\n            <td>Texture<\/td>\n            <td>It changes the character of the collective sound.<\/td>\n            <td>Whispers, long vowels, consonants, air or vocal percussion.<\/td>\n        <\/tr>\n        <tr>\n            <td>Signal of change<\/td>\n            <td>It allows you to transform the piece without stopping it.<\/td>\n            <td>One gesture indicates repeat, lower volume, change, or end.<\/td>\n        <\/tr>\n        <tr>\n            <td>Silence<\/td>\n            <td>It creates contrast, breathing room, and anticipation.<\/td>\n            <td>The entire circle leaves one or more pulses completely empty.<\/td>\n        <\/tr>\n    <\/tbody>\n<\/table>\n\n    With these few ingredients, there is already enough vocabulary to construct a piece. Harmonic and rhythmic knowledge can greatly expand the possibilities, but the starting point remains accessible: <strong>listen, repeat, and respond<\/strong>.\n\n<!-- =========================================================\n     CIRCLE AS INSTRUMENT\n     ========================================================= -->\n<h2>The circle as an instrument<\/h2>\n\n    When several layers appear simultaneously, something curious happens: we stop hearing just a group of people singing and begin to perceive a collective instrument.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/images.squarespace-cdn.com\/content\/v1\/5e3884578235c42f2e4e0261\/190decd5-11c5-4867-b13d-475174de2126\/Outdoors%2Banthropos.jpg\"\n        alt=\"Gran c\u00edrculo de personas practicando canto e improvisaci\u00f3n vocal colectiva\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        When we listen to the ensemble as a single unit, the circle itself begins to behave like an instrument. Image:\n        <a href=\"https:\/\/www.guillermorozenthuler.com\/vocal-improvisation\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            Guillermo Rozenthuler \u00b7 The Singing Village\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n    Bater\u00eda\n    Bajo\n    Coro\n    Atm\u00f3sfera\n    Solista\n\n    Algunas voces pueden encargarse del motor r\u00edtmico. Otras construyen la\n    base grave. Un peque\u00f1o grupo mantiene acordes o notas largas. Alguien\n    puede crear sonidos ambientales y otra voz desplazarse libremente sobre\n    todo ese paisaje.\n\n\n    El papel de quien facilita consiste principalmente en\n    <strong>take care of the architecture of listening<\/strong>: percibir cu\u00e1ndo una\n    idea necesita tiempo, cu\u00e1ndo la textura est\u00e1 demasiado llena, cu\u00e1ndo una\n    secci\u00f3n puede cambiar y cu\u00e1ndo conviene dejar que el grupo encuentre su\n    propio camino.\n\n\n    Existen tambi\u00e9n formatos de improvisaci\u00f3n vocal donde la conducci\u00f3n se\n    distribuye o desaparece completamente. La investigaci\u00f3n de\n    Eeva Siljam\u00e4ki sobre\n    <strong><a href=\"https:\/\/journals.sagepub.com\/doi\/10.1177\/1321103X20985314\"\n    target=\"_blank\" rel=\"noopener noreferrer\">collaborative vocal improvisation in choral contexts<\/a><\/strong>\n    muestra justamente el valor de la co-construcci\u00f3n, el juego y la\n    interacci\u00f3n musical compartida, incluso entre participantes con\n    experiencias musicales muy diferentes.\n\n\n    Desde esta perspectiva, facilitar significa menos &#8220;dirigir una obra&#8221; y\n    m\u00e1s <strong>to create conditions for collective music to emerge<\/strong>.\n\n<!-- =========================================================\n     10 MINUTES\n     ========================================================= -->\n<section>\n    Practical experiment\n    <h2>How to try Circle Singing in 10 minutes<\/h2>\n    \n        You only need between <strong>3 and 8 people<\/strong>, un lugar donde\n        puedan escucharse y diez minutos. No hacen falta instrumentos.\n    \n            MIN 0-1\n                <strong>Find a pulse.<\/strong>\n                \n                    Formen un c\u00edrculo y marquen una pulsaci\u00f3n c\u00f3moda con las\n                    rodillas, los pies o un peque\u00f1o movimiento corporal.\n                \n            MIN 1-3\n                <strong>They create the first loop.<\/strong>\n                \n                    Una persona inventa una frase de dos a cinco sonidos.\n                    Todos la repiten hasta que empieza a sentirse estable.\n                \n            MIN 3-5\n                <strong>Add a second layer.<\/strong>\n                \n                    Una parte del c\u00edrculo mantiene la primera frase y otra\n                    inventa algo mucho m\u00e1s simple: una nota grave, una vocal\n                    larga o una respuesta r\u00edtmica.\n                \n            MIN 5-7\n                <strong>Build texture.<\/strong>\n                \n                    A\u00f1adan palmas suaves, consonantes, sonidos percusivos,\n                    respiraciones o una tercera frase. Eviten llenar todos\n                    los espacios.\n                \n            MIN 7-9\n                <strong>Open up some space.<\/strong>\n                \n                    Quien quiera puede improvisar una melod\u00eda mientras las\n                    dem\u00e1s personas mantienen la estructura. El solo siempre\n                    es opcional.\n                \n            MIN 9-10\n                <strong>Let the song disappear.<\/strong>\n                \n                    Retiren capas una por una hasta quedar con una sola voz.\n                    Despu\u00e9s permitan que llegue el silencio.\n                \n            Reglas de oro\n                01 \u00b7 Una frase corta funciona mejor que una idea complicada.\n                02 \u00b7 Mantengan un volumen moderado para poder escucharse.\n                03 \u00b7 Escuchen varias vueltas antes de a\u00f1adir otra capa.\n                04 \u00b7 Nadie est\u00e1 obligado a improvisar a solas.\n<\/section>\n<!-- =========================================================\n     WHY ALIVE\n     ========================================================= -->\n<h2>Why does it feel so alive?<\/h2>\n\n    Porque la canci\u00f3n todav\u00eda no existe.\n\n\n    Cada segundo contiene una peque\u00f1a pregunta: \u00bfseguir\u00e1 igual?, \u00bfaparecer\u00e1\n    otra voz?, \u00bfcambiar\u00e1 el ritmo?, \u00bfalguien responder\u00e1 a esa melod\u00eda?\n\n\n    Esa incertidumbre mantiene la atenci\u00f3n en el presente. Una misma frase,\n    repetida durante un minuto, puede cambiar completamente de significado\n    cuando aparece una nueva armon\u00eda debajo de ella.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/www.moma.org\/d\/assets\/W1siZiIsIjIwMjUvMDMvMTgvM2FmbG1nNjB2dF9fUzZBMTQzOV9GaW5hbF8wMDIzXzFfLmpwZyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA4MCAtcmVzaXplIDE1NTB4MTA1MF4gLWdyYXZpdHkgQ2VudGVyIC1jcm9wIDE1NTB4MTA1MCswKzAiXV0\/_S6A1439_Final_0023%20%281%29.jpg?sha=6a9f213bedb6d22e\"\n        alt=\"Facilitador guiando una experiencia de canto improvisado en c\u00edrculo\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        Facilitation can offer cues and structures while keeping the group&#039;s response open. Image:\n        <a href=\"https:\/\/www.moma.org\/calendar\/events\/10417\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            MoMA \u00b7 CircleSing\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    Tambi\u00e9n existe una experiencia particular de pertenencia musical.\n    Nuestra voz puede ser extremadamente sencilla y, aun as\u00ed, resultar\n    esencial para que las dem\u00e1s capas funcionen.\n\n    Una idea importante\n    <strong>\n        Being involved in music doesn&#039;t always mean standing out. Sometimes it means holding something small with such presence that other people can build upon it.\n    <\/strong>\n\n    Estudios sobre improvisaci\u00f3n vocal colaborativa han observado experiencias\n    de juego, aprendizaje musical, agencia y construcci\u00f3n compartida entre sus\n    participantes. Esto no convierte Circle Singing en una terapia ni permite\n    garantizar un efecto espec\u00edfico para todo el mundo. S\u00ed nos ayuda a entender\n    por qu\u00e9 un entorno musical abierto y cooperativo puede generar experiencias\n    de atenci\u00f3n, sorpresa, conexi\u00f3n y exploraci\u00f3n.\n\n\n    Una investigaci\u00f3n educativa reciente tambi\u00e9n estudia\n    <strong><a href=\"https:\/\/ojs.pensamultimedia.it\/index.php\/sird\/article\/view\/8200\"\n    target=\"_blank\" rel=\"noopener noreferrer\">Circle Singing as an inclusive and interdisciplinary laboratory<\/a><\/strong>, utilizando precisamente la\n    repetici\u00f3n y la improvisaci\u00f3n vocal colectiva como herramientas de\n    aprendizaje.\n\n\n    En el fondo, el principio es muy sencillo:\n    <strong>Each voice listens, proposes, and responds to a system that is constantly changing<\/strong>.\n\n<!-- =========================================================\n     FAQ\n     ========================================================= -->\n<h2>Frequently Asked Questions about Circle Singing<\/h2>\n        <h3>Do I need to know how to sing?<\/h3>\n        \n            You don&#039;t need vocal training or knowledge of music theory to get started. Being able to listen to a short phrase and try to repeat it is enough. An experienced group can work on much more complex harmonic and rhythmic structures, but the principle remains the same.\n        \n        <h3>How many people are needed?<\/h3>\n        \n            Three people can already create several layers. With six, eight, twelve, or more participants, many possibilities arise for dividing the circle into sections. The format can be adapted to small or very large groups.\n        \n        <h3>What is the difference between Circle Singing and a choir?<\/h3>\n        \n            A choir typically works with a repertoire, arrangements, or structures that have been previously defined and rehearsed. In Circle Singing, the musical material is created primarily during the experience itself. Both worlds can coexist: many choirs incorporate improvisation into their rehearsals, and there are ensembles specifically dedicated to vocal improvisation.\n        \n        <h3>Can it be done with children or beginners?<\/h3>\n        \n            Yes. In fact, short patterns, imitation, repetition, and call-response make it easy to adapt the experience. With beginners, it works especially well to limit each idea to just a few sounds and prioritize play over complexity.\n        \n        <h3>And what about with advanced musicians?<\/h3>\n        \n            Also. An experienced group can explore polyrhythms, irregular meters, modulations, improvised counterpoint, different scale systems, changes of key, extended textures, and much longer musical forms.\n        \n        <h3>What does a facilitator do?<\/h3>\n        \n            Listen to the group as a whole, suggest initial structures, and help organize the voices. You can assign patterns, introduce changes, indicate silences, create spaces for improvisation, and guide a transition. A good facilitator also knows when to step back and allow the group to respond on its own.\n        \n<!-- =========================================================\n     CLOSING\n     ========================================================= -->\n<h2>A voice can be small and the music enormous.<\/h2>\n\n    Circle Singing reminds us of a basic idea of music:\n    <strong>A complex composition can emerge from very simple relationships.<\/strong>.\n\n\n    Una voz repite.\n\n\n    Otra escucha y responde.\n\n\n    Alguien encuentra un ritmo.\n\n\n    Otra persona descubre una nota que cabe entre las anteriores.\n\n\n    Y en alg\u00fan punto dejamos de saber exactamente qui\u00e9n est\u00e1 acompa\u00f1ando a\n    qui\u00e9n.\n\n\n    El c\u00edrculo entero se convierte en la canci\u00f3n.\n\n<!-- =========================================================\n     CTA\n     ========================================================= -->\n<section>\n        <h3>Explore your voice as a musical instrument.<\/h3>\n        \n            At Vocal Alchemy we investigate listening, resonance, tuning, intervals, harmony and improvisation from the direct experience of singing.\n        \n        <a href=\"https:\/\/legatto.space\/en\/alquimia-vocal\/\">\n            Discover Vocal Alchemy\n        <\/a>\n<\/section>\n<!-- =========================================================\n     SOURCES\n     ========================================================= -->\n<section>\n    <h3>Sources and readings<\/h3>\n    <ul>\n        <li>\n            <a href=\"https:\/\/makemusicday.org\/national-projects\/circle-singing\/\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Make Music Day &#8211; Circle Singing\n            <\/a>\n            \u2022 Contemporary introduction to participatory practice.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/ojs.pensamultimedia.it\/index.php\/sird\/article\/view\/8200\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Pantano &amp; Rizzo &#8211; Circle Singing as an Inclusive\n                Interdisciplinary Practice\n            <\/a>\n            \u2022 Educational research on collective vocal improvisation.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/journals.sagepub.com\/doi\/10.1177\/1321103X20985314\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Eeva Siljam\u00e4ki &#8211; Free improvisation in choral settings\n            <\/a>\n            \u2022 Research on collaborative vocal improvisation, learning, play, and social processes.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/bobbymcferrin.com\/circlesongs\/\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Bobby McFerrin &#8211; Circlesongs\n            <\/a>\n            \u2022 History and approach to his vocal improvisation practice.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/academic.oup.com\/edited-volume\/56491\/chapter\/454287035\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                The Oxford Handbook of Community Singing\n            <\/a>\n            \u2022 Perspectives on community singing and musical participation.\n        <\/li>\n    <\/ul>\n<\/section>\n<\/article>","protected":false},"excerpt":{"rendered":"<p>Voice \u00b7 improvisation \u00b7 collective listening. What is Circle Singing? Imagine someone singing a phrase of just three notes. Several people repeat it. Another voice joins in, playing a bass line. Someone adds rhythm with their mouth. Another person finds a harmony, and little by little, what was silence just seconds ago begins to transform\u2026<\/p>","protected":false},"author":1,"featured_media":2538,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[21],"tags":[95,94,91,92,93],"class_list":["post-2517","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-call-response","tag-circle","tag-circle-singing","tag-singing","tag-singing-circle"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Circle Singing: qu\u00e9 es y 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