In the third improv (regular readers of this blog know that I mean classical improv, not jazz improv, not theatrical improv, and that by classical improv I don’t mean improvising as they did in the Classical Era, I mean improvising with your own voice as a classical musician) class, we did a review of the last session – using sticks (on cardboard, on padded chairs, on notebooks, etc.) to acquire basic skills in control – steady pulse, adding accents (duple, triple, clave), dynamics, basic rhythms, free mix-and-match, density (from lots of notes to lots of rests), imitate (what you hear others play), add multiple timbres (hit something different to get a different color). It is a lot of variables when you add them all up when we get to the free play sessions, but they did well. We stressed that the most important part of this is listening. It’s great to add variety to your free sticking, but listen to the group: imitate the ideas of others and stick (pun intended) to the beat; if you hear the group getting ragged, simplify, go back to the steady 8th notes without an accent. Listen to yourself; continually adjust, adapt, and (re)calibrate. It’s easy to feel like you are riding an effortless, continuous stream of notes, but we need to stay alert to what is happening every second and make micro-adjustments. Paying attention is important. Don’t let the brain turn dull as soon as it perceives a pattern (e.g. regular sticking) and fall asleep.
Although we haven’t officially gotten into it yet, I added some Soundpainting (see www.soundpainting.com) gestures that seemed appropriate: the Density Fader, Volume Fader, Finish Your Idea, Exit.