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!
Welcome back, everybody! Here is a story about creative music making to send us into the high season.
Once upon a time, I broke my arm. It was a clean break and bones heal, so it wasn’t a tragedy. Still, breaking an arm is a major event for a musician. After a lot of help from health professionals, my arm was more or less back to normal with the addition of a badass new scar. Yes!!! I could play again!
Ummm… oops. Patience is not my strong suit, so I overdid it a bit. I knew it was just a question of time, but I wanted to play. My arm just didn’t have the juice to play for very long. In fact, the juice ran out after 10 minutes a day. I’ve never been a big practicer, but even for me that’s nothing. So I decided I would play with both arms for the amount of time my newly healed arm could handle, and once that arm was done for the day, I would keep on playing with my ‘good’ arm alone.
Here was the challenge: I needed to not use my left arm to play the clarinet. The left hand operates the upper joint of the clarinet and is used in all fingerings for the clarinet. I had to eliminate the upper joint.
Could I play the clarinet with just the lower joint? Luckily for me, my mouthpiece fit right into the lower joint.
All of a sudden I had a right-handed clarinet, my left arm got a well-deserved break (…groan…) and I had access to a whole new sound world.
This is a blog about making music with everybody, so why am I telling this story? Because creativity comes out strongest when we need to find ways to work within constraints. I never guessed when I broke my arm that I would discover a whole new instrument in the half-clarinet. In fact, I’d never even imagined it. But when I needed to figure out a way to make music with what I had, I found a way. The discoveries I made as result have since become a major part of my creative activities. Click below to listen to Songbird, a work I composed and performed for half-clarinet and loop station.
I use this story to grab untrained musicians’ attention and encourage them to think creatively. If someone expresses a perceived limitation such as ‘I’ve never taken music lessons’, ‘I’m not a singer’ or ‘I don’t read music’, what is the flip side of that limitation? What practical openings do those limitations offer that you can use to make music that is different than you ever imagined?
Ever been asked to run a creative music workshop for 120+ teenage girls? I have, and had a great time with Trafalgar School for Girls. I was a wee bit nervous – that’s a lot of people, and when teens are enthusiastic about something, they outrun all your expectations, but if they’re not… well, that workshop could have been a real long hour. So, how was I going to get these girls excited and involved from the get-go?
My number one task in working with amateurs is putting people at ease, since people who are laughing and having fun are naturally creative. Games are great for this. I pulled out all the stops and ran the Traf workshop pep rally style by setting up a participatory music game in which the girls composed, sang and conducted their own music game based on the chanting game Fruit Salad.
The following scores are based on a chanting game in which three 4-beat rhythmic chants are repeated and layered an indeterminate number of times. I’ve used variations of this process in situations as diverse as summer camp music exploration for 30 kids, adult music composition classes for 6 people, and high school pep rallies, otherwise known as (insert your school name here) Spirit!
Age range: 7 to older adults
Number of participants: 6 to 100+
I borrow the principle of layered rhythmic chants and adapt it by creating rhythmic chants of different lengths: typically 3, 4 and 5 beats long. When repeated, the chants phase due to their different lengths. Depending on the context, I compose the chants, as in the following score appropriate for 6-10 year olds.
When possible, I ask participants to compose the chants, encouraging far greater creative input and ownership over the resulting score. The chants in the following score were composed by music students of Trafalgar School for Girls under the guidance of music teacher Kirsten Offer on the theme of ArtsFest, a bi-annual school-wide festival celebrating the arts. More chants were composed than are shown in this score; I selected and tweaked the chants that would work in the context of a 120+ person pep rally.
Now to turn these scores into a game: first, teach the chants by rote. Select a conductor(s) who indicates dynamics, entrances and exits. What happens if everyone starts together? What happens when the 3 and 4 beat chants start loud and decrescendo? What happens if the 5 beat chant starts alone, whispered?
Next choose a word or phrase from each of the chants to drop and replace with a rest. Then drop another. And another. Add one back in. And another. Add and drop differently from each of the chants. The gray squares around the words in the scores above are one way in which the words and phrases can be grouped to be dropped and added. Pay close attention to how you do this for your score – it has a huge effect on how groovy or square your piece sounds. Different words and rhythms pop out and line up in different and surprising ways, depending on how and when different words and phrases are dropped and added.
Now find a way to add and drop words on the fly: invent conducted hand signals for drop and add. Write the chants on a whiteboard and cover and uncover the words with pieces of paper. Be creative about how you lead this! Better yet, ask your participants to come up with ways to lead this game. Each group will come up with different solutions, resulting in different pieces from the same score. Have fun!