Here’s the situation: I walk into a high school band room full of 20 to 30 teens playing wind instruments. Our task is to co-compose, rehearse and perform a piece in one hour. I’ve just met the players. I don’t know their musical taste or level of music theory, let alone their names. It’s go time!
The first thing I do is make sure people know that there are no wrong notes in a creative process, only interesting ones (see Knitting Lessons for more). After that, it’s crucial to find a way for everyone to talk about pitch easily. When I’m a guest in a high school band class, we usually warm-up with the lingua franca of high school band, a concert Bb Major scale. Happily this lends itself to speaking in scale degrees. This means I can say, “play scale degree X”, rather than “flutes play x, trumpets and clarinets play y, altos play z, oh and you’ve got French horns…”
Tip: I wax poetic about scale degrees. Not only do they make pitch-based exercises easier to lead as a facilitator, scale degrees empower participants to speak directly with one other, rather than going through me, their teacher or a transposition chart. Easy communication means people are more inclined to make music on their own, which is ultimately what I hope for.
Once you have decide on how to talk about pitch, here’s a process to find pitch material:
- Ask four participants at a time to play any note on your cue.
- Cue multiple times, asking participants to change notes on each cue, resulting in a series of 4-note chords.
- Ask participants to pick one of the chords to play with.
- Write the notes on the board, using scale degrees or transposing as necessary.
- On your cue, ask the full band to play any one of the four notes on the board, resulting in a rich orchestration of this chord.
This sequence takes around 20 minutes, including warm-up. I learn a lot about groups’ musical preferences and experience during this time, which helps me direct the process moving forward. Groups choose wildly different pitch material to work with, from crunchy atonal clusters to four-note jazz chords to open fifth power chords. I go with whatever a group chooses – it’s their music, after all.
Here are some examples of the pitch material various groups have chosen:
In the next blog post, we’ll take this process on to the next challenge: a group that clearly wants to make beat-based music.