You’ve been doing all this improv, everyone is having a great time, and now the concert is looming. What to do? I say improvise in concert, as is. Or you can get a wee bit more composition-y about it. Let’s take the previous blog post ‘Long tones made fun’ one step further…
The basic rule of the game stays the same: you can play a long tone, or a silence. Now for pitch choices. Play through several versions of this game using different pitch set options (see previous blog post or invent your own). Does your group like certain pitch sets better than the others? Take the group’s favourite pitch sets and find a way to display them so that everyone can read off the same chart – a white board, Smartboard or other kind of projection works well for this. Then have one person ‘conduct’ by pointing to which set they want the group to play and for how long.
Choose different conductors – each conductor will lead the group through the pitch sets in different ways with different timing. This alone is fascinating. For the concert, ask the audience to guess the rules of the game and then have your three most enthusiastic conductors lead the group through the same game – audiences love it, because they hear how active music-making is and they get to be a part of it, too!
I admit I’m a geek – I like to play long tones even after 30 years of playing my instrument. It’s a form of meditation when I get to forget about everything and enjoy making sound. I can wax poetic about it, but I also recognize that not everybody feels this way! Yet, more than anything else, long tones dramatically improve my students’ playing. So how do I make long tones interesting and inspiring for the less-geeky-than-me? Oh, I have so many ways…
Sound and silence
Instrumentation: Wind, brass, strings, pitched percussion
Age & ability: All ages, intermediate to advanced
Number of participants: 6-35
My long-time long-tone favourite is a game piece in which players have two choices:
play a long tone
play a silence
The long tones and silences can overlap in any way, creating shifting textures and timbres as different instruments come in and drop out at various times.
Pitches can be open or predetermined. Here are some examples of predetermined pitch sets:
An E in any octave
Any note of a specific chord, such as C Major or E minor minor 7
Any note of specific scale, such as pentatonic, or D Major
Any note from a tetrachord such as (0, 1, 2, 6) or C, C#, D, F#
Any note of the chromatic scale
Any of these options can go on for a fair while. Encourage your participants to listen and respond to each other. Each group takes it in a different direction – yours will too.
More next time on shaping this game into collaborative composition.