Sound poems

“You want me to what? Oh no, I have a terrible voice…”

What musician hasn’t heard that, or said it themselves? Most people speak daily. However, ask people to sing and insecurities abound. I have a lot of ways of putting people at ease using their voice in a musical setting. One way is to ask people to play with words as sound.

Ten-second Sound Poem

Instrumentation: Voice
Age & ability: All ages, no musical training necessary
Number of participants: 6-35

Choose a topic and brainstorm words related to that topic. I’ve had groups choose place names, seasonal and natural phenomenon, and shared experiences. Steer the conversation towards onomatopoeia, words that sound like what they mean.

For example, let’s take water:

Dribble, roar, bing, swoosh, plop, sploosh, plonk, burble, sploosh, whoosh, trickle, drip, plop, gurgle, splash, kerplonk…

The list goes on and on! Do call-and-response with your participants playing with different ways of saying the words. Sploosh can be full voice or whispered, long or short, with sibilant s’s or a long drawn out shhhh….

Next, write each word on a piece of paper and ask each participant to choose a word at random. Surprise! Which word are you going to draw?

Then, conduct a Ten-second sound poem: as conductor, signal the beginning of a series of 10- second time segment. Each participant speaks their word at any point during the ten seconds. I might say splooooooooooosh at the beginning of the ten seconds, or at the very end. Each ten-second segment is unique as the participants say their word at a different points, in different ways.

The Ten-second sound poem can go in many directions. The conductor can change the duration for shorter, longer, getting faster, getting slower. Change conductors, or have multiple conductors. Choose new words. Check out this in-class recording of a co-composition by my group Sing! using this process – we surprised ourselves with this one!

Water poem, co-composed and performed by participants of Sing!, spring 2017

What happens if…

Your students have a basic understanding of how instruments make sound. What happens if we deconstruct an instrument to it’s most basic element: the part that produces sound? What happens if we play only part of the instrument? What happens if we reconstruct the instrument using found objects? What happens if…

You get the picture. Today is about instrument design, modification and sound exploration.

Instrumentation: Wind & brass
Age & ability: All ages, all abilities
Number of participants: full class or groups of 2-3

Let’s deconstruct the clarinet, since it is the instrument I know best. The mouthpiece and reed create the basic sound of the instrument. The body of the clarinet acts as a resonator. To reconstruct a clarinet, we tinker with the body of the instrument.

Some useful materials for construction.

Found objects as resonators: What can be used as a resonator other than the body of the instrument? Think of household materials you already have, such as paper towel tubes of different lengths, rolled up aluminum paper, a popped balloon. Find a way to create an air-tight seal around the mouthpiece and the resonator. If there are small air leaks, use saran wrap around the join between the mouthpiece and the resonator to help the seal. How and why do different materials sound different?

Reconstruct the clarinet itself: How many different ways can you put a clarinet together? What does it sound like if you play the mouthpiece and barrel alone? Or the mouthpiece, barrel and top joint? What happens if you play with the mouthpiece in the bell? What happens if you put the clarinet together normally and hold materials across the bell and tone holes? Play a low E and cup the bell with a metallic bowl, aluminum paper, or tissue paper.

The Frankenstrument! Reconstruct the clarinet with other instruments: What happens if you play the clarinet mouthpiece with the resonating bodies of other instruments such as a trombone or flute?

My current Frankenstrument!

Warning: I supervise Frankenstrument construction to make sure the instruments don’t get damaged. Be gentle! Never force two instruments together. If two instrument parts don’t fit:

  1. Ask one participant to hold the mouthpiece and blow and another participant to hold the instrument body against the mouthpiece.
  2. Construct a tube to connect the two instrument parts.
  3. Use parts of instruments that are no longer playable or repairable.

Have fun! I’m fairly certain your students will surprise you with this one.