Just published by GIA: Improvised Chamber Music by me.
Excerpt from the Introduction:
The joys and benefits of chamber music are well-known. Everyone has an important role and part to play, so challenge and motivation are built-in. While it’s easy to “hide” in a large ensemble, in chamber music you hear everyone and everyone hears you. So you naturally acquire sharper rhythmic skills, sense of pitch, and sensitivity to appropriate dynamics. It’s a great social adventure as well, working closely together with others to achieve a common purpose.
Nearly every musician with even modest training has had some opportunity to play standard chamber music, be it string quartets, brass or woodwind quintets, or other mixed instrumentations. But what’s missing from nearly everyone’s training is making up one’s own chamber music, i.e. creating the piece as you go along. In this situation where you play without ink, all the joys and benefits of playing chamber music from sheet music are amplified, because you are all responsible every instant for creating a piece of music that makes sense and is satisfying to both performer and audience. The listening skills that are enhanced by traditional chamber music are developed to a much higher level in improvised chamber. The player must instantaneously and continuously analyze melodic shapes and motifs, modes and keys, rhythms, and timbres, then decide the appropriate role – solo/counterpoint/accompaniment/silence – and create it while listening to the whole, evaluating, and adjusting and adapting.
If this sounds overwhelmingly complex and difficult, think this: you already do this every day. It’s called conversation. You take something you already know well (the language) and use in a way that is interesting and meaningful to you to express what you are feeling in the moment. You listen, you respond, you enjoy the interaction. You do the same things in improvised chamber music, except that you can do it with several more people at the same time and still make sense.