04/25/13

Improv Game of the Day: The Hands Tell a Story

My photos that have a creative commons license...

2 players. Two players sit in chairs facing each other. The game: construct a piece using hand and arm gestures only. Although this game is without sound, the principles of improvisation are the same: come up with a strong idea, repeat that idea, embellish or ornament it, develop that idea in all the ways that you might develop a melodic idea.

Suggestions: Respond to what your partner is doing – steal (imitate) their ideas, integrate them with your own, be inspired by your partners ideas. Remember to be silent (i.e. motionless) sometimes. Create ostinatos (repeated gestures) as accompaniments to solos. Take a solo – be imaginative!

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04/23/13

It’s a New Day: Composing with Kids

The Future of Classical Music by Greg Sandow has long been one of my favorite blogs. His latest post was an account from Sally Whitwell about her “experience as a performer and composition workshop presenter for teenagers at the Perth International Arts Festival”; if you’re interested in creativity in music and music education, this is a must-read.

Whitwell was shocked, shocked that the festival had a hard time finding classical musicians to do creative workshops.

I won’t rehash the whole post – you should read the original to get the details of how she worked with the kids to use text and workshopped melodies to create a song (see below). The staff turned the ideas into a notated composition that was later performed:

“In my perfect world, all kids would have this opportunity to be creative with music.”

Amen.

Thanks Sally, and thanks Greg!

04/6/13

Interval Improv Game – Recording by Nate Trier

Nate Trier has a blog on topics in improvisation and composition that you should definitely visit. I was just there and found that he has two recordings of improv games from my book Improv Games for One Musician (GIA, 2009, 50 p.). The first game is a duet (2:39) for sax (David Elkin-Ginnetti)  and some kind of keyboard sound (Nate); titled Atonal Interval Warm-Up, where the performers are limited to certain intervals. Here they chose M7/m7, #4, M/m2nds.

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04/1/13

Improv Quote of the Day: Music Begets Music

Bechstein Firmenschriftzug

A very close friend of mine is an accomplished improviser. After hearing a particularly stunning rendition, I’ll never forget his response to a question one of my colleagues asked him as to how he learned to improvise so well. He said that his first piano teacher insisted that he improvise a piece of music in response to every new piano composition he studied. He was brought up with the idea that music begets music. Consequently there was no division between presenting and re-presenting, between thinking up, in, and about.

–Harold Best

 

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03/31/13

The Hands Tell a Story: Gestural Improvisation

Hands Of Desperation

(Photo credit: chris@APL)

English: Two hands are opened palms up in an i...

ASL short for "I love you"

Clenched human fist

English: Counting Hand 3

We tried something new in improv class last week (well, it’s really always new, all the time): improvising without music.

“How do you do that?” you ask, and rightfully so. “And why?”

We started off like this. Two players sat in chairs and faced each other. The instructions were to create a piece using only their hands.

Why: because many of the things that we are try to achieve improvising with our instruments can be done using hand gestures. Let’s see how many we can come up with (let me know what I missed):

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03/29/13

Improv Quote of the Day: Why isn’t Creativity at the Center of Curricula?

Creativity Graph

(Photo credit: lightsoutfilms)

Creativity, which is nothing more or less than imagining something and then executing it, has been virtually removed from all but the most innovative [music school] curricula. This raises two questions: If the continuing presence of music is the cause of continuing to learn music; if the cause of music is human creativity, why is creativity not at the center of the music curriculum? Why is the act of thinking up music left just to a select few specialists, while re-presenting it, or over-verbalizing about it, is the province of so many?

–Harold Best, Music Curricula in the Future

 

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