Big Apple Sojourn: Interview with Evan and Gil (#1)

One of the great things about classical improv is that you are not dependent on a composer to write something for your particular group. Notation-only players are forced into instrumentations which may or may not line up with whom they would actually like to play with. When you are a music creator, you can play with anyone else who can “speak music” at any level and any instrument.

Duende is an unusual trio: horn, cello, and piano, made up of me, Gil Selinger, and Evan Mazunik. We made a terrific CD (“Mosaic“) some years back (available from www.msrcd.com) where we took medieval and Renaissance music and used it as source material for improvisation. It came about thusly: Evan and I had been working together as a duo for about four years at the University of Iowa, giving improv workshops, concerts, and we made a CD (“Repercussions” – available from www.cdbaby.com). Then Evan left school and moved to New York, where he met improvising cellist Gil Selinger. Evan and I had already worked up some of this early music repertoire during a creative residency we spent at The Centrum (in Port Townsend, WA, on the grounds where they filmed “Officer and a Gentleman” with Richard Gere and Debra Winger). Gil brought some ideas and we had the material for “Mosaic.”

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Improv Game(s) of the Day: 10 Ways to Get in on the Fun

Concert Crowd (Osheaga 2009) - 30000 waiting f...

(Photo credit: Anirudh Koul)

Games for an improv concert that uses the audience. Rehearse one or more of these games with the audience just before your improv concert (or improv piece in a chamber music concert) begins.

#1:  Have them sing a note in unison. Ask them to experiment with going slightly and/or a lot of tune and then back to unison, perhaps inventing a gesture/signal for this so that you can use it during a piece.

#2: Give them one, two, or three noises to make that you cue with a gesture (e.g. hold up one, two, or three fingers), like “ssshhhh” or “[air sound]” or “mmmmm”.

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