Long tones made fun

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:

    1. play a long tone
    2. play a silence
Campbell, Sound and 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.

Campbell, Sound and Silence, a variation

Pitches can be open or predetermined. Here are some examples of predetermined pitch sets:

Choose from:

          1. An E in any octave
          2. Any note of a specific chord, such as C Major or E minor minor 7
          3. Any note of specific scale, such as pentatonic, or D Major
          4. Any note from a tetrachord such as (0, 1, 2, 6) or C, C#, D, F#
          5. 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.

Musings on making music with anyone

Making music with untrained musicians (aka ‘amateurs’) is a long-time passion of mine. It started over twenty years ago when I walked in to a dance studio with a terrible sound system, a piano that was beautifully twangy and out of tune, and twenty hyper 8-year-olds who had just eaten copious amounts of chocolate during their lunch break. Teaching them how to read quarter notes was clearly going to be excruciating, and not my cup of tea at the best of times. Helping them to become a multi-headed monster chatting away in an invented language – now that was fun! And still is fun, regardless of whether I’m working with 8-year-olds or 80-year-olds.

In recent years, I’ve had the pleasure of leading Teacher Training workshops and Pedagogy 101 for Musicians on the topic of Creativity in the Classroom. The same question always crops up in these workshops: Where do you find your scores? The answer: I don’t find them anywhere. I make them up. With my students. Regardless of who they are, how old they are, and how much (or little) music training they’ve had. We draw on everyone’s experience in the room, using participatory music practices from around the world—that part has a lot to do with me and a long history of musicians whose work I draw on. This blog is a further response to that question: I am going to use this space to share my ideas and experiences in making music with untrained musicians of all ages. Each post will feature the equivalent of one ‘score’, whether it be in traditional notated form, narrative description, or (if I get fancy enough) as instructional video. My hope is that you take these ‘scores’ not as finished products but as starting points to come up with your own music in whatever context you are making it. Try the multi-headed monster thing. It’s seriously fun.