University of New MexicoUNM Digital Repository
Music ETDs Electronic Theses and Dissertations
1-30-2013
Part I: Composition Portfolio ; Part II: TheIntegration of Free-Improvisation in the CollegeMusic CurriculumAndrew Saletta
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Recommended CitationSaletta, Andrew. "Part I: Composition Portfolio ; Part II: The Integration of Free-Improvisation in the College Music Curriculum."(2013). https://digitalrepository.unm.edu/mus_etds/7
i
Andrew Saletta Candidate Department of Music Department This thesis is approved, and it is acceptable in quality and form for publication. Approved by Thesis Committee: Dr. Karola Obermueller , Chairperson
Dr. Regina Carlow
Dr. Richard Hermann
Dr. Bruce Dalby
ii
PART I: COMPOSITION PORTFOLIO
And
PART II: THE INTEGRATION OF FREE-IMPROVISATION IN
THE COLLEGE MUSIC CURRICULUM
BY
ANDREW SALETTA
BACHELOR OF MUSIC EDUCATION
THESIS
Submitted in Partial Fulfillment of
Requirements for the Degree of
Master of Music
The University of New Mexico
Albuquerque, New Mexico
December, 2012
iii
Dedication
This one is dedicated to all who know that they have something to give to this world, who
are willing to search for it within, and who then willingly give it. I give this to you, but I
still have more searching to do.
iv
Acknowledgements
I would like to thank all the teachers in my life whether in academic settings or
not. I would also like to thank all of my professors who have guided me in my musical
and college studies. The expertise, wisdom, passion, and creativity that you have shared
with me keep me inspired to share my own contributions with the world.
Thank you to my family and friends who have supported me along this journey. I
am so grateful for the consistent encouragement that you all were so willing to provide
for me.
And lastly I would like to thank the great, beautiful mystery that is life.
v
PART I: COMPOSITION PORTFOLIO
And
PART II: THE INTEGRATION OF FREE-IMPROVISATION IN
THE COLLEGE MUSIC CURRICULUM
By
Andrew Saletta
B.M.E., Music Education, University of Wyoming, 2005
M.Mus., Music, University of New Mexico, 2012
ABSTRACT
Part I: Composition Portfolio includes the scores of seven of my original
compositions. Pelayo Finds the Old Man is a piece for flute, clarinet in B-flat,
percussionist, and recording. Sre Koit is a choral piece written for a musical, and it
incorporates vocal percussion, spoken text, and traditional singing technique. Silent State
is an improvisatory piece for two performers, rocks, flags, piano, and body movement.
The first three pieces above demonstrate collaborative works with theater and/or dance
groups. I attended rehearsals with each group and this process informed my
compositional choices. The following four pieces demonstrate a variety of styles, and
include compositions for a diverse set of instrumental families. They show a spectrum of
vi
harmonic, temporal, and structural frameworks that I explored throughout the process.
Joy Within from String Quartet no. 1 is the first of a three-movement piece. Guitar
Quartet no. 1 explores the techniques unique to guitar. …now…here for flutes and
percussion, is a large ensemble work that incorporates a number of extended techniques
for the flute. absolute elsewhere was written for Gamelan Encantada, a Javanese
influenced American gamelan in pelog scale.
Part II: The Integration of Free-Improvisation in the College Music Curriculum is
a Music Education Project that argues for the inclusion of a free-improvisation forum in
college music curricula. The diverse manifestations of improvisation are presented in a
variety of published materials including histories, research, and methods. Non-academic
sectors in which improvisation is practiced are explored, specifically the practices of
music-therapists and their clients, and performing artists. A brief survey then
demonstrates the status of improvisation course content in select colleges in the United
States. Two original free-improvisation activities that I created are next presented in two
field studies. I discuss the results of each session, through which I assert that the
inclusion of free-improvisation in a college curriculum serves to fulfill three important
objectives for musicians: 1) to reduce musical inhibitions by creating a safe space in
which to explore musical creativity, 2) to allow participants to construct their own
knowledge and meaning in music, thereby giving them more ownership of their
education, and finally, 3) to expand the definition of music thereby broadening one’s
understanding, acceptance, and appreciation of a diversity of musical languages.
vii
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ix
-./!&01&!23-4/& Table 1 - Course offerings in Common Practice Period Improvisation ……………… 147
Table 2 - Course offerings in Jazz, World Music, and Popular Music
Improvisation…………………………………………………………………...149
Table 3 - Course offerings in Non-traditional Improvisation…………………………..151
!
!
!
!
PART I: COMPOSITION PORTFOLIO BY
ANDREW SALETTA
1
Pelayo Finds the Old Man
for Recording, Flute, Clarinet in B-flat, and Percussionist from music for
Seraphic Circus
Andrew Saletta
2
!
"
!
"
Copyright © September 17, 2009
Recording
Flute
Clarinet in Bb
Percussion:Triangle
MaraccasWind Chimes
q = 48
mf
mp poco poco poco
Rec.
Fl.
Cl.
Perc.
5
p mf
poco mf mp
mf mp pp f pp
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!! "! !! "!
!! "! !! "!
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$ %& % % %
Andrew SalettaFermata indicates approximately 23 seconds of recording
4. Pelayo Finds the Old Manfrom Seraphic Circus
' & ad lib. poco vib.
'(( %&ad lib. poco vib.
$ %& % % %
$ % % % % %
'
'((
$(Wind Chimes)
))))))
(Triangle) (Maraccas)(Triangle)
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, . # , . # / , . #
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3
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"
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Fl.
Cl.
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10
p f
p f
mf pp p mf
Rec.
Fl.
Cl.
Perc.
poco rit. A Tempo15
pp mp
pp mf
Rec.
Fl.
Cl.
Perc.
20
mf
p mf p mf
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,6 . # ,,
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4
!
"
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"
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Rec.
Fl.
Cl.
Perc.
24
p f
p f
molto vib.
p mf
Rec.
Fl.
Cl.
Perc.
28
poco vib.
mp
poco vib.
mf
Rec.
Fl.
Cl.
Perc.
33
non vib.
n
mp
non vib.
n
mf n
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5
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5
Sre Koitfrom the musical
Red Umbrellas
Andrew Saletta
6
Instrumentation:
Alto SoloistBoy SopranoSopranoMezzo-SopranoAltoTenorBass
Performers Notes:
-Synthesizer - with basic synth sound
-Singers- "rrrung dung*"- as in m. 9- rolled "r" and close back of tongue to "ng" through the sustained pitch, do not hold the open vowel.
-Singers will perform spoken text and vocal percussion (V.P) figures in addition to sung lines.
-Perform the vocal percussion with as much percussive emphasis as possible. It is to imitate military drums.
-Perform words with an asterisk, such as ch*, or tk*, as short as possible.
-Perform "whispered," "breathy," or "full" voice as indicated in score.
-Alto Soloist should perform the text in as natural of a spoken flow as possible. The indicated rhythms do not have to be followed as long as the melodic phrase isadhered to and she realigns with the other musicians according to the actual phraselengths. The indicated rhythms are one possible interpretation for a natural spoken flow. She should be heard above all other musical texture throughout the work at alltimes.
-A pause can be taken between m. 76 and 77 if staging/choreography needs it,but the pause should not be too long. No more than five seconds.
7
!
"
#
!Copyright © January 19, 2010
Synthesizer(true synth sound)
q = 69
mp
S.
M-S.
A.
T.
B.V.P.
Synth.
rrrung
mf
dung* .- - - - - -
p9
rrrung
mf
dung* .- - - - - -
p
rrrung
mf
dung* .- - - - - -
p
chung
mp
che ke che chk chk chk chk chung che ke che chung chk chk chk
!"!"
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Music by Andrew SalettaLyrics by Beth Iha
Sre Koit
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( (simile (lyrics)
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8
"
#
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#
!
S.
M-S.
A.
T.
B.V.P.
Synth.
rrrung
mp
dung* gah .
f
- - - - -
12
rrrung
mp
dung* .
f
- - - - - -
rrrung
mp
dung* .
f
- - - - - -
S.
M-S.
A.
T.
B.V.P.
Synth.
rrrung
mf
dung* ga hah- - -
15
rrrung
mf
dung* gah - - - -
rrrung
mf
dung* - - - -
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9
"
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A.
T.
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.
ff18
.-
ff
.-
ff
A. SoloV.P.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
I am srei koit. Post Khmer Rouge
21
rrrung
mp
dung* .- - - - - - - - -
p
rrrung
mp
dung* .- - - - - - - - -
p
rrrung
mp
dung* .- - - - - - - - -
p
chung
mp
che ke che chk chk chk chk chung che ke che chung chk chk chk
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3
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&
Sre Koit
10
"
#
!"
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!
A. SoloV.P.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
Phnom Penh Toul Kork Dis trict.-
23
rrrung
mp
dung* gah - - - - -
rrrung
mp
dung* - - - - - -
rrrung
mp
dung* - - - - - -
A. SoloV.P.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
26
.- rrrung
mf
dung* ga hah- -
.- rrrung
mf
dung* gah - -
.- rrrung
mf
dung* - - -
%
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11
"
#
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A. SoloV.P.
S.
M-S.
A.
T.V.P.
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Srei
f
Koit!
30
.
ff
.-
ff
.-
ff
A. SoloV.P.
BoyS.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
Khmer Rouge, dead ly- rule las ting-
33
Slaved,
f
starved, tor tured,- ki lled!-
Slaved,
f
starved, tor tu- red!-
Slaved,
f
sta rved!-
Slaved,
f
starved, tor tured, killed! Sla ved!- -
Powh!
f
powh bohm- Powh!
mf
powh bohm-
Doom
f
che ke- te- tahh Doom
mf
che ke- te- tahh
""
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Sre Koit
12
"
#
!"
#
!
A. SoloV.P.
BoyS.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
o ver- four years. My peo ple- en dured.- Au thor- i- ty- de man- ded- it!
37
Slaved, starved, tor tured,- ki lled!-
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Slaved, sta rved!- -
Sla ved!- - - -
A. SoloV.P.
BoyS.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
Lea ders...- What lea ders?!- Pol Pot Nuom Chen Ieng Sa ry- Ta Mok Khieu Sam phan.-
40
%3
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+ + + + - . +1 + + + + .% +/ + + + 0 +/ + + + .
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- + - + + - + - + + - + - + +
+ + + + +1 . , + + + + +1 . , + + + + +1 . ,
*** *** *** *** *** *** *** *** *** *** *** ***
+ + . .% +/ + + . - + + - + + - + + + - + + - + + + , -
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*** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
&
13
"
#
!
A. SoloV.P.
BoyS.
S.
M-S.
A.
T.V.P.
B.V.P.
Synth.
Lea ders- who chose the gov ern- ment- for my peo ple.- I am srei koit. I am pro sti- tute.-
44
f Forced!
fBea ten!-
fTraf ficked!-
Raped!f
4
%3 3
#$$$$ % 'V.P.
%Loudly whispered, very breathy
%
#$$$$ % 'V.P.
%Loudly whispered, very breathy
%
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%Loudly whispered, very breathy
%
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%Loudly whispered, very breathy
%
% %
( ( % %3 3
#$$$$ % %&$$$$
+ + + + % + + + + 0 + + + + - , + + + + + + + + + .
,% +
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- + + . ,
+ ,%
- + - + + - + - + +
+ + + + +1 . , + + + + +1 . ,
- )**
333
*** *** *** *** *** *** *** *** 33 33
Sre Koit
14
"
#
!"
#
!
A. SoloV.P.
BoyS.
V.P.
S.V.P.
M-S.V.P.
A.V.P.
T.V.P.
B.V.P.
Synth.
My job now las ting- o ver-
48
Forced!
mp
Forced!
Bea
mp
ten!- Bea ten!-
Traf
mp
ficked!- Traf ficked!-
Raped!
mp
Raped!
Dom
mp
dom dom dom dom dom
mp
ch* ch* ch* tah* ch* ch* ch* tah*
A. SoloV.P.
BoyS.
V.P.
S.V.P.
M-S.V.P.
A.V.P.
T.V.P.
B.V.P.
Synth.
eight years. I en dured.- Au thor- i- ty- de man- ded- it.
50
Dom dom dom dom dom dom Dom dom dom dom dom dom
ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah*
%simile
%simile
%simile
%simile
%
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%
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( (
% %
% %% %% %
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- . +1 + + + + + +
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+1 . - +1 . -
+1 . + + +1 . + +
0 +$ + + +/ .% 0 + + + +/ .%333
333
33 33
+ + - + + + .% +/ + + + 0 +/ + + + . ,
+1 . + + +1 . + + +1 . + + +1 . + +
0 +$ + + +/ .% 0 + + + +/ .% 0 +$ + + +/ .% 0 + + + +/ .%333
333
33 33
&
15
"
#
!"
#
!
A. SoloV.P.
BoyS.
V.P.
S.V.P.
M-S.V.P.
A.V.P.
T.V.P.
B.V.P.
Synth.
Men... hi ding- be hind- dar ling- wives, and small chil dren.-
52
Forced!
Bea ten!-
Traf ficked!-
Raped!
Dom dom dom dom dom dom Dom dom dom dom dom dom
ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah*
A. SoloV.P.
BoyS.
V.P.
S.V.P.
M-S.V.P.
A.V.P.
T.V.P.
B.V.P.
Synth.
Men... choo sing- my work for me. Men... un ar- res- ted- un tried!-
54
Forced!
Bea ten!-
Traf ficked!-
Raped!
Dom dom dom dom dom dom Dom dom dom dom dom domDom dom dom dom dom
ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah* ch* ch* ch* tah*
5
3 3
%
%
%
%
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To Boy S.
% %To S. % %
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% %To A.
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+ - + + + + + + + . +1 + + + ,
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0 +$ + + +/ .% 0 + + + +/ .% 0 +$ + + +/ .% 0 + + + +/ .%3333
3333
33 33
+ - + + + + + + . - + + + + +. + +
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&
Sre Koit
16
"
#
!"
#
!
A. SoloV.P.
BoyS.
V.P.
S.V.P.
M-S.V.P.
A.V.P.
T.V.P.
B.V.P.
Synth.
Toul Kork dis trict.- Place of long las ting- Phnom Penh pro sti- tu- tion.-
57
Robbed,
f
jailed, tor men- ted!-
Robbed,
f
jailed, tor men- ted.-
Robbed,
f
jailed, tor men- ted.-
Rob
f
bed,- jai led,- to r- men- ted!-
Rob
f
bed,- jai led,- to r- men- ted!-
mp
ff4
A. SoloV.P.
S.
S.
M-S.
A.
T.
B.
Synth.
My si sters- and I en dure.-
63
Ah
mf
la- la- Ah- la- - - - -
Robbed, jailed, tor men- ted!- Ah - - . .- - -
Robbed, jailed, tor men- ted!- Ah ah- - - ah- -
Robbed, jailed, tor men- ted!- Ah ah- - ah- - ah- - - - -
Rob bed,- jai led,- to r- men- ted!-
Rob bed,- jai led,- to r- men- ted!-
mf5
% % % %
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17
"
#
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A. SoloV.P.
S.
S.
M-S.
A.
T.
B.
Synth.
69
.- Ah ah- - - - - - - -
Ah ah ah- - ah- - -
- - ah ah- - - - - -
ah ah- - - - ah ah- ah- - ah - - -
Ah ah- - - ah- - - - - - - -
Ah ah- - - - - - - -
mf
f
A. SoloV.P.
S.
S.
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A.
T.
B.
Synth.
Po lice- and Jud ges- chose my pun ish- ment- for
76
-
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Sre Koit
18
"
#
!"
#
!
A. SoloV.P.
S.
S.
M-S.
A.
T.
B.
Synth.
be ing- me!
79
Hide
mp
!
f
Hide
mp
be hi- nd!-
f
Hide
mp
be hind- lies!
f
Un
mf
ar- res- te d,- un tri- ed!-
p
Un
mf
ar- res- te- d,- un tri- ed!-
p
A. SoloV.P.
V.P.
V.P.
V.P.
V.P.
T.
B.
Synth.
You of fer- so lu- tions...
83
Ig
f
nore!
Re
f
duce! Hide
f
!-
ff
Judge!
f
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f
be hi nd!-
ff
E
f
val- u- ate!- Hide
f
be hind lies!
ff
You!
f
You! Un ar- res- te d,- un tri- ed!-
p
You!
f
You! You! You! Un ar- res- te d,- un tri- ed!-
p
mp
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% % % %
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19
"
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A. SoloV.P.
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
Synth.
Post Khmer Rouge Phnom Penh
90
tk*
mp
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah Doom che ke- te- tah Doom che ke- te- tah
Doom
mp
che ke- te- tah Doom che ke- te- tah Doom che ke- te- tah
Doom
mp
che ke- te- tah Doom che ke- te- tah Doom che ke- te- tah
tk*
mp
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah Doom che ke- te- tah
4A. Solo
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
Synth.
Toul Kork Dis trict.- I am Srei Koit! Cam bo- di- an- pro sti- tute.-
93
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom che ke- te- tah
Doom che ke- te- tah
Doom che ke- te- tah Doom
mp
che ke- te- tah
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom che ke- te- tah Doom che ke- te- tah
%
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+ + + + +1 . , + + + + +1 . , + + + + +1 . ,
- + + + + + + - + + + + + + - + + + + + +
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3 3
3 3 3
- + + + + 0 - + + + + - .% +/ + + + + + + ,
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3 3 3
&
Sre Koit
20
"
#
!"
#
!
A. SoloV.P.
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
Synth.
I en dure.- I de mand- it! Name... So phe- a.- En e- my- of the peo ple,- who sleeps with your bro thers,-
96
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah
Doom
mp
che ke- te- tah
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah
A. SoloV.P.
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
Synth.
fa thers,- hus bands,- sons. Ar res- ted- and tried... a -
99
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah
Doom
mp
che ke- te- tah
Doom
mp
che ke- te- tah
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
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&
21
"
#
!
A. SoloV.P.
V.P.
V.P.
V.P.
V.P.
V.P.
V.P.
Synth.
gain, and a gain,- and a gain.-
102
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk* tk*
Doom
mp
che ke- te- tah Doom che ke- te- tah Doom.
5
%
%
% % %
% % %
% % %
%
( ( (3 3
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3 3 *- ,
3 3 *- ,
Sre Koit
22
Silent State An improvisation for two performers,
piano, stones, flags, and body movement
Conceived by Andrew Saletta
Premier realization performed by Andrew Saletta and Sabine Wilden - 4/27/2012 UNM Composition Studio Recital
Notes for Performance:Materials and Setup:
-Performance space: The performers need enough space to have the piano on stage, and room for one or both performers to be moving their bodies, the stones, and flags around the stage in dynamic ways. The lighting should be enhanced with colored lights or visual effects if possible, and according to the performer’s own choices. For the premier, the audience was in a theater in the round style seating, but this is up to the performers and the performance space limitations. There were red, green, blue, and white lights positioned around the room.
-The piano must have its lid either fully up or off if using a grand piano. If using an upright, the piano should be prepared so that the performers have easy access to the strings. For the premier, the piano was on one end of the stage, but this is up to the performers.
-The stones should vary in size, but be comfortable to hold easily in the hands, or even in one hand. Ranging in size from a deck of cards to a baseball. The performer should feel comfortable enough to move with them, to roll them, spin them, drop them, and strike or rub them together. River stones are likely the best option because of their smoothness, and solidness; and they will not crumble upon striking together.
23
For the premier, the stones began on the floor in a cluster on the opposite end of the stage as the piano. There were fourteen stones, one of which had broken into multiple parts during one of the rehearsals (it was not a hard enough consistency to take repeated striking!). The broken pieces were still used in performance.
-The flags are long pieces of cloth varying in size. There should be at least two cloths of solid color. Like the stones the performer should be able to dynamically move and manipulate them with ease. They can begin on stage anywhere the performers desire. For the premier, the flags, two red and two purple, approximately 6ft x 2.5ft, began on the the floor with the reds completely covering the purples. They were situated as rivers connecting the stones to the piano.
-The performers should wear all black._____________________________
The Piece:
This piece is framed by a few loose rules of performance.
1. It begins with performers behind the audience, or at least off-stage. They need to have eye contact with each other so they can start the piece by both shouting or screaming loudly at the same time and rush into position, through the audience if possible. One person goes to the piano, one person goes to the open stage, stones, or flags.
2. They begin freely improvising sound and movement with the given materials. The general flow is that one person improvises at the piano, while one person improvises with their body, stones, and/or flags.
3. When either performer is compelled, they can shout, cry, scream, moan - or somehow activate their voice. These moments of vocal activation signal that the performers are to change roles. Pianist to movement, mover to piano. The transition can be immediate or slow, smooth or abrupt, but it is given that the
24
voice should signal the beginning of this change. This interchanging can happen as often or as sparsely as desired. However, it is important for this piece that the performers do not use actual words.
4. These rules are loose and can be amended to fulfill the performer’s own intentions. For example, if so compelled, both performers may be on the piano at the same time, or both may find themselves moving their bodies, performing with rocks, or flags at the same time. They may find the vocal activation might turn into singing.
5. It is recommended to rehearse the piece multiple times, striving to make each realization of the piece different from any other. The rehearsals allow the performers to play with their materials and understand the flow, the possibilities of creation, reaction and response, the possibilities of change.
6. The piece will end when both performers are ready to end; through enough practice together, an understanding of when exactly that ending moment is will feel more and more comfortable. The premier realization lasted 13 minutes and 30 seconds. But need not last this long, or this short.
The Intentions:
Using the vocal activation as transitions, the piece can be interpreted as a flow of changing states of consciousness. Perhaps as if being woken from a dream, or transitioning from a daydream back to “reality” as if startled by a loud noise, or sudden movement. Perhaps from being overwhelmed by a deep cry emerging from within that suddenly changes one’s frame of mind, or laughing out loud at something unexpected. Regardless, one’s level of awareness is suddenly different, whether more or less acute.
The improvisation is NOT intended to fit into any particular musical or dance “style.” I even refrain from labeling the improvisation “experimental,” for if the performer is compelled to improvise in the style of Bach, or a jazz ballade, or in a pentatonic scale, then they should! If the dancer is compelled to dance like a classically trained dancer, or a flamenco dancer, then they should. However, one of the intentions of this piece being improvisatory is that there should not be a feeling of right or wrong. It should be something that the performer wants or is compelled to do in that moment.
25
Lastly, the performers should strive to:
...listen deeply to one another
...play, explore, experiment
...expand one’s own limits- musically, physically, dramatically
...be a leader or a follower at the appropriate time
...create, react, and respond
...be dynamic, take risks
...be patient and clear with one’s intentions
26
Andrew Saletta
String Quartet no. 1Mvt. 1- Joy Within
27
!
"
!
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"Copyright Dec. 7, 2011
Violin 1
Violin 2
Viola
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20
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String Quartet no. 1
Andrew SalettaMvt. 1- Joy Within
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& &
, # ,- , . , , , ,,. , , # ,- , . , , , ,,. # , . , . , .
. # , , , , , , . # ,/ # ,- , . , , , , ,0 ./ , ,/ # ,- , . , , , , ,0 ./ #, # ,- , . , , , , , . , , # ,- , . , , , , , . #, # ,- , ./ , , , , , ./ , , # ,- , ./ , , , , , ./ #
, # ,- , . , , , , , . , , # ,- , . , , , , , . #
,/ . ,/ . 1 , ,/ . # . . #
,/ . ,/ . , .% , . ,/ $,- . .% # ./ # 1 2. ,/ , ,/ , , . ,
,/ . ,/ . , ,/ , . # . . #
, . , . , . , . , %,/3 . . # ./ # 1 2 . ,/ , ,/ , , . ,
28
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
pp mf
norm.
molto accel. molto rit. q = 60
29
pp
norm.
mf
pp
norm.
mf
pp mf
norm.q = 60
Vln. 1
Vln. 2
Vla.
Vc.
poco rit. molto accel. A tempo34
sul tasto norm.
sul tasto norm.
L.H. pizz. arco
Vln. 1
Vln. 2
Vla.
Vc.
pizz.
mf p
arco
f p
sul tastoq = 12038
pizz.
mfp
arco
f p
sul tasto
f p f p legatopizz.
mf
arco
p f p
arco
!" ""!" ""
!" ""
!" ""
#" 45#" 45#" 45
#" 45
45 6" 45 6"
45 6" 45 6"
45 6" 45 6"
45 6" 45 6"
$%%% & & & 7& 7&+ 07 7 7& 7&
$%%%& & & 7&
+7&
0 77 7& 7&
(%%% & & & 7&+7&
0 7 7& 7&
)%%% & & & 7&+7&
0 ' 7 7&7&
$0 8 &8& & &
&& %%%%%
$08
8 & 8 8 8 8 8& & & & & & & &
%%%%%3
(0 8 & & & &%%%%%
)0 8&
& &8 8 8
& & %%%%%
$%%%%%8 8 8 8 8 8 & 8 8 8 8 +
$%%%%% 8 8 8 8 88 8
8 8 8 8 8+
(%%%%% &88 8 8 &
+
)%%%%% 8 8 8 8 & & +
, , , , , , , , , , ,1
. #, , . . # , ,- , , ,3
, ,/ , , , , , , , , ,% 1 . # 1 9 , , , , . 9 , , , , ,- , , ,-
, , , , , , , , , , ,/ 1 ./ # 2 : ,3 . # , , ,3 , , ,3
, ,/ , , , , , , , , ,/ 1 . # , , , , , , , , , ,3 , ,-
,3 , ,3 ,- , ,- ; , ,0 , , , , , # ,% - .% #, , ,,,,,3 , ,3 , , , , , , , , , , ,0 , ,0 , , , , , , , , ,% $,% ,% , . #, , ,,,,, , ; , ,- , , , , ,- .% . #,- , ,- , ,, ;
1 ,- : ,- : ,- : ,,- : ,,
-,, ,, ,, ,, ,,3 .% . #
, , ,3 , , , , , , , , ,3 , 1 &&&&&, .. ## ,,3
,- , , , , , , , # ,- , , , , 1 &&&&&, .. ## ,,3
,,,,,,,,, # ,3 , , , ,,,,,,,,, # 1 &&&&&,, , ,
3,
,- , , , , , , , , # . # ,- 1 &&&&&,,3, , , ,
29
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
semi sul pont.
ff ff
norm.43
semi sul pont.
ff ff
norm.
semi sul pont.
ff ff
norm.
semi sul pont.
ff ff
norm.
Vln. 1
Vln. 2
Vla.
Vc.
pizz.
f
48
norm. legato
f
pizz.
f
mf
simile
Vln. 1
Vln. 2
Vla.
Vc.
mp f p
q. = 66rit.54
mp f p mf
mp f p
mp
simile
f mp
rit.
6" 45
6" 45
6" 45
6" 45
<5
<5
<5
<5
$%%%%%+ 00
& & & & & & & & & &
$%%%%% + 00 8 & & & & & & 8 & & & & &
(%%%%%+ 00 & & & 8
)%%%%%+ 00 8 & & & & &
8 & & && &
$00& & & & & & & & & &
$00 8 & & & & & & 8 & & & & &
(00 & & & 8
)00 8 & & & & &8 & & &
& & $III II
$00
$00solo&
(00
$00 II I
1 , , , ,3, , , , , ,
, , ,3, , , , , , , , , ,3
,
1 , ,3 , , , , ,3 , , , ,3 , , , , , , , #
1 , , ,,,,,,,, # . , #,,,,,,,,, # ,3 , ,- 1 #
1 , ,- , , , , , , , , # ,- , , , , , 1 #
, , ,3, , , , , ,
, , ,3, , , , , , , , , ,3
,, # , # , # , #
,3 , , , , ,3 , , , ,3 , , , , , , , #, # , # , # , #
,,,,,,,,, # . , #,,,,,,,,, # ,3 , ,- 1 # , # , # , # , #
,- , , , , , , , , # ,- , , , , , 1 # : =, =, : =, =, : =, =, : =, =,
, # , # , # , # ,0 # , # ,0 # , # ,/ # , # ,/ # , # , # , # 1 # , ,-
, # , # , # , # , # , # , # , # , # , # , # , # , # , # , # , #
, # , # , # , # , # , # , # , # , # , # , # , # , # , # , # 1 #
: =, =, : =, =, : =, =, : =, =, : ,=,= : ,=
,= : ,=,= : ,=
,= :,= ,= :
,= ,= :,= ,= :
,= ,= : =, =, : =, =, : =, =, : =, =,
30
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
62
f p ff
Vln. 1
Vln. 2
Vla.
Vc.
arco
f
pizz.
f
arco
fff
70
legato
fff
arco
fff
p
legato
fff
Vln. 1
Vln. 2
Vla.
Vc.
legato
pp
75
legato
mplegato
mp
mf
$00
$00 & &&
2
2
(00
$00 ' ' )
$00 & '& & & & & & & & & & &
$00 ' & & & & & & & &2 2
(00& & & & & &
)00 & & & & & & &
$00
$00 7 7 7 7 8 8 8 7 7 7 72 2 2 2
(007 7 7 7 7 7 7 7
2 2 2 2
)00 8 8 8 8 8 88 8 8 8 8 8 8 8
, # , # 1 # , # ,, ,0 # , # 1 # ,0 # ,0 , 1 # ,/ # 1 # ,/ # , # ,0 # , ,3 , #, # , # . # , # , # , # , # ,0 , , # , # ,/ ,0 , ,/ ,0 , # . #, # , # , # ,, 1 # , # , # , # 1 # , # , # , # ,, 1 # , # 1 # , # 1 #: =, =, : =, =, : =, =, : =, =, : ,=
,= : ,=,= : ,=
,= : ,=,= :
,= ,= :,= ,= :
,= ,= :,= ,=
1 ,0 , 1 ,0 , , ,/ ,01 # : ,0 , , , # ,0 # , , ,
, # , # , , , , , , , , ,/ # ,0 # , , ,
, # , # , # , # . # , # , # , # , , ,
, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , # , # , , ,
, , , , , , , , , , , , , , , , , , , , , , , , , , ,/ , , , , , , , , , , , ,0 ,/ , , ,0 ,/ , , ,0 ,
, # , # , , , , ,0 , , ,/ , , , , ,0 ,/
, # , # , , , , , ,0 ,/ , ,/ , ,0 ,/ , : ,0 ,/ , ,
, , , , , , , , , , , , , , ,/ , , , , , ,% , , ,
Joy Within
31
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
f
pizz.arco
fff ff
79
f fff
legato
f fff
legato
ffff
Vln. 1
Vln. 2
Vla.
Vc.
p
87
p
p mf p
p
Vln. 1
Vln. 2
Vla.
Vc.
96
p f p
p ff p p
$00 8 & & 8 & '& & & & &&& & &&& & &
$00 & & && & & 7 7 7 7
&&& & & &&& 7 7 7 72 2
2 2
(00 & & & & & & & & & &&& 7 7 7 72 2
)00 8 & && & & & &&& & &&&
8 8 8
$00& & & 7 7 7 7 7 7 7 7 7
$00& & 7 7 7 7 7 7 7 7 7
(00 7 7 7 7 7 7 7
)00 & & 7 7 7 7 7 7 7 7
$00 8 7 7 7 7& 7& 7 7 7 7 7& 7& 7 7 7
$00 7 7 7 7
(00 7 7 7
)00 7 7
,/3 , , ,3 1 ,0 ,1 ,0 , , ,/ ,01 # : ,0 ,, , # ,0 # , , , , ,3 , # , # , #
,,,,, , ,,,,,, , # , # , # , # , , , , , ,,, ,/ # ,0 # , , ,, # , # , , , ,
,,,,, ,/ ,,,,,, , # , # , # , # . # , # , # , # , , , , # , # , , , ,
,3 , , ,3 ,, ## ,, ## ,, ## ,, ## .. ## ,,, , # , # , , , , , , , , , , , , , , ,
, ,3 , , , , . # . # . # , # , # . # . # . # . #,/ ,0 , , , , .0 # ./ # . # . # . # , # , # . # . #, ,0 ,/ ,0 ,/ , ,/ , ,0 ,/ , ,/ . # . # . # . # ,,,,,,,,,,,, . # .0 # .0 #
, , , , , ,. # . # . # . # . # . # . # . #
,03, , ,3 ,3 , , ,3 ,3 ,/ , ,3 ,3 ,0 , ,3 ,3 ,/ , ,3
,0 ,0 , , , , , , , , , , .0 # .0 # .0 # .0 #. # ./ # , ,/ , , , , , , , , , , ./ # , ,/ , , , , , , , , , ,
. # . # ./ # .0 # ./ #
32
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
ff p
legato
mf p
molto vib.
mf
101
mf ff mp
legatonon vib.
mf p
ff p
legato
mf p
ff p
legato
mf p
Vln. 1
Vln. 2
Vla.
Vc.
p
111
sfz p
sfz p f
sfz p f
Vln. 1
Vln. 2
Vla.
Vc.
lunga
sfz
short
p
q = 126119
lunga
sfz
short
plunga
sfz
short
p
p
lunga
sfz
short
p
6" 45
6" 45
6" 45
6" 45
$00 & & & & & & &8 8 &
2
$00 &
(00 &
)00 & & &
$00 &&
& & 8 8 & & &2
$00 & 8 8 & 8 8 & &
(00 & 7 7 7 7 7 7 7 8 8 8 & & & 8 8 8 8 82
)00 &7 7 7 7 7
7 78 8 8 & & &
2
$007 + 8 8 &
$00 7 +8 8 &
(00 7+ 8 8 &
)00 8 8 8 7 7 7 + 8 8 &2
,0 ,0 , ,/ ,0 , ./ # ,/ # ,% # .% # ,/ # ,% # . # . # ,/ # , # ,% # ,% ,/ ,% ,% ,% , #
,0 ,0 , ,,, , ,% ,/ ,/ ,, .% # ./ # ,% # , # ,% # ,% # ,/ # ,/ # . # .% # ./ # .% #,/ # , # ./ # ./ # .% # ./ # ./ # . # .% # .% # .% #
,0 # ,/ # ./ # ./ # .% # .% # ./ # . # ./ # . # .% #
,'%( # ,% ,% ,/ # ,% # : ,% ,/ , # : ,/ , , # : , ,/ , # ,%3 : : ,/ ,% ,/ , # ,% # .% #
&&&&&.'%( # .% # .% # ./ # ./ # ,% ,/ ,% , # ,/ ,% , , # ,% ,% ,,,,,,,,,,
&&&&&.'%( # ,% # , # ,% # ,% # ,/ # ,/ # . # ,/3 1 ,3 1 ,%3 1 ,% ,/ , ,% ,% ,% ,% ,%
&&&&&.'%( # ,% # , # ,% # ,% # ,/ # ,/ # . # ,/ - 1 ,- 1 ,%3 1 ,% ,/ . #
.% # .% # . # ,%1 ,3 : ,3 : , #
,% ,% ,,,,,,,,,, , ,/ ,,,,,,,,,, , ,/ ,,,,,,,,,, ,% 1 ,- : ,- : , #,% # ,% # .% #
.% # ,% 1 ,3 : ,3 : , #
. # ,% , ,/ ,% ,% , ,/ ,% , , , ,% 1 ,3 : ,3 : , #
Joy Within
33
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
ff p
124
ff p
ff mp
ff mp
Vln. 1
Vln. 2
Vla.
Vc.
f p f
131
f p f
sfz mp sfz p
f
Vln. 1
Vln. 2
Vla.
Vc.
137
p
p
>5 45>5 45
>5 45
>5 45
"" 45"" 45
"" 45
"" 45
45 "" 45 ""
45 "" 45 ""45 "" 45 ""45 "" 45 ""
$00 8 8 & 8 8 & 8 8 & & &
$00 8 8&
8 8 & 8 8& & & 8 8 8 8 8 8 8 8 8 8 8 8
(00 8 8 & 8 8 & 8 8 & & & 7 & 7 &
)00 8 8&
8 8 & 8 8& & &
$00 & & & '& & &
$00 8 8 8 8 & & &8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 & & && 8 8 8 8 8 8 8
(00& 7 7 7 & 7 & & 7 7 '
)00 $
$00 ' ' ' ' ' ' '
$00 8 8 8 8 8 & 8 8 8 & 8 8 8 &
(00 ' ' ' ' ' ' '
$008 8 8 8 & 8 & 8&
&8 & 8 8 8 8 8 8 8
8 8 8 & 8 8 8 &
,3 : ,3 : , # ,3 : ,3 : , # ,3 : ,3 : , # , , , , , , 1 # . , # . , # ./ , #
,- : ,- : , # ,- : ,- : , # ,- : ,- : , # , , , , , , 1 # , , , , 1 # , , , , 1 # , , , , 1 #,3 : ,3 : , # ,3 : ,3 : , # ,3 : ,3 : , # , , , , , , 1 # 1 , : , 1 , : , 1 , ,0 #
,3 : ,3 : , # ,3 : ,3 : , # ,3 : ,3 : , # , , , , , , 1 # , ,/ , # , ,/ , # , ,/ ,0 #
$,0 ? ./ ,0 , , . , # . , # ./ , # $,0 ? ./ ,0 , ,
, ,/ , , ,0 , , , , , , 1 # , , , , 1 # , , , , 1 # , ,/ , , ,0 , , ,0 ,/ , ,0 ,/ , , ,
,0 ,/ , # 1 , : , 1 , : , 1 , ,0 # ,0 ,/ , #
,/ ,0 , # , ,/ , # , ,/ , # , ,/ ,0 # ,/ ,0 , # , , , ,
, , , ,- ,0 , , ,0 , # , , , ,/ , ,3 , , , ,3 , , , ,3, , , ,3
, ,
,0 , ,/ ,/ ,0 ,3 ,03 : ,3 : ,-: ,3, , , , , , , , , # , , , # , , , # , , , # , ,
34
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
ff mf
144
ff p ff mf p
ff mf
ff p ff mf p
Vln. 1
Vln. 2
Vla.
Vc.
non vib.
p
vib.sul tasto
mp
rit.q = 72
151
vib.sul tasto
p mf
Vln. 1
Vln. 2
Vla.
Vc.
mf
molto espressivo
p f p
157
molto espressivo
mf p
mf
molto espressivo
f p
mf
molto espressivo
p
"" 45 ""
"" 45 """" 45 """" 45 ""
6" ""
6" ""
6" ""
6" ""
$00 ' ' ' ' & &7
77
7
$00 8 8 & & & & & 7 7
(00 ' ' ' ' & &7
77
7
$00 8 8 && & 7 7
)
$00 77 % 7 7
3
$00 ' % ' ' ' ' '
(00 77 % 7 7 &
3
)00 ' % ' ' ' ' '
$%& & 3
$% ' '7 7
(% &)% ' '
1 # ,/ , 1 , 1 ,/ 1 , 1 ,/, , , , , , , , , , . .. .. , ,3 , , , , ,
:,3 :
,3 2 , 1 2 , 1
1 # , , 1 ,/ 1 , 1 ,/ 1 ,
, , , , . . . .. , # , , , # , , 2 ,0 1 2 ,0 1
1 , 1 ,/ 1 .. ## ;; , , . # 1 , , , , , , . #
1 ,/ 1 , : ,- , , , ,0 , . # . # ,/ ; . , , , ,/ , ,% ,
,0 , ,/ , . ,0 , ,/ , . 1 , , , , , , , , , , , , 1 ,, , , , ,- , # ,- , #
1. , , . # 1 . , . .
. ,/ , ,% , , . ,- , # ,- , # ,3, # ,3 , ,, ,- , # ,3
,/ # 1 , , , , ,
. . ; . . 1 . ,
Joy Within
35
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
f ff
short
p p
163
f ff
short
mf
f ff
short
mf
f
pizz arcoshort
ff mf
Vln. 1
Vln. 2
Vla.
Vc.
f p f p
pizz.
mp
q = 120
169
pf p
pizz.
mp
f p f p
p
pizz. arco pizz.
ff
Vln. 1
Vln. 2
Vla.
Vc.
176
arco
f
6" ""
6" ""
6" ""
6" ""
45
45
45
45
$% & +3
$%&
+
(% &+
)% +
$% 00&
$% 00&
(% 00 '
)% 7 7 00 '
$00 & & &
$00& & &
(00 ' ' ' ' ' && & & & &
)00 ' ' ' ' '
,- , # . 1 : ,/3 . . . . 1 , , , , , , , , , , , ,
; 1 .. ## .. .. 2 1. , , . #
, , , . : , # . . . 2 ,- , # ,- , # ,3, # ,3 , , ,
, . #,
1, ,
:,- ,-
: , . 2 . . ;
1 ,, , , ,
,- , # ,- , # ,- , # . 2 .0 ; ; , ,3 , ,
1 . , . . ; 1 .% # ; ;;/, # , ,
,- , # ,3,/ # 1 , , , , , , ,% , . : ,, ## .. ;; ;
. . 1 . , , .% # ,0 1,0
1 ;0 ,/1 2
, ,3 , , , ,3, , , ,3
, , , ,3 , , , ,3 , , , ,3, , , ,3
, , ,
, # , , , # , , , # , ,, # , , , # , , , # , , , # , ,
, ,- , , , , , , , , , , ,
,,,,,,,,,,,,,, ,,,,,,,,,,,,,,
36
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
183
Vln. 1
Vln. 2
Vla.
Vc.
arcomolto vib.
mp f
190
arcomolto vib.
mp f
f mp f mp
molto vib.
f
f mp f mp sffz
Vln. 1
Vln. 2
Vla.
Vc.
sfzp f sub. p
198
sfzp f sub. p
sfzp f sub. p
sfz
pizz.
mp
arco
$00 &&
&&
$00& & & &
(00 7 8 8 8 8
)00 8 8 8 8 8 88 8 8
$00 & ' ' ' ' 7 8
$00& &
' ' ' ' 7 8
(00 7 8 7 8 7 8 7 8
)00 8 8 8& &&&
$00 7 8 7 8 7 8 7 8
$00 7 8 7 8 7 8 7 8
(00 7 8 7 8 7 8 7 8
)00 & & & &
, ,3 , , , ,3 , , , ,- , , , ,- , , , ,3 , , , ,3 , , , ,- , ,
, # , , , # , , , # , , , # , ,, # , , , # , , , # , ,
, ,- , , , # . , ,- , , , # . , ,- , , , # . , ,- , ,
, # , , , , , , ,, , , ,
, # , , , , , , ,, , , ,
, # , , , , , , ,, , , ,
, # , , , ,
, ,- , , , # 2 , # . , ,3 , ,
, # , ,, # 2 , # . , ,- , ,
, # . , ,- , , , # , , , ,- , , , # , , , ,- , , , # . , ,3 , ,
, , ,, , , ,
,, ## .. ,, ## .. ,, ## .. ,, ## .. ,, ## .. ,, ## .. ,,,,,, ..
, # . , ,3 , , ,,, , ,,. , ,3 , , , # . , ,3 , , , # . , ,3 , ,
, # . , ,- , , , # . , ,3 , , , # . , ,- , , , # . , ,- , ,
, # . , ,3 , , , # . , ,3 , , , # . , ,3 , , , # . , ,3 , ,
,, ## .. ,, ## .. ,, ## .. ,, ## .. ,,- : : 2 , , , , , , , , , , , , 1 ,, ## ..
Joy Within
37
!
"
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
f mp ff
206
f mp ff
f mp ff
pizz.
sffz
pizz.
ff
Vln. 1
Vln. 2
Vla.
Vc.
p
L.H. pizzarco legato
f p
h = 54poco rall.212
p
pizz. arco legato
f p
p
arco legato
f
p f
legato
Vln. 1
Vln. 2
Vla.
Vc.
f pp
accel. 219
f pp
pp
pp
arco
@@5@@5
@@5
@@5
!6 66
!6 66
!6 66
!6 66
#" !"
#" !"
#" !"
#" !"
$007 8 7 8 7& 7 7 8 8 7
$00 & 7 8 7 8 & & 7& 7 7 8 8 7
(00 7 8 7 8 7& 7 7 8 8 75
)00 & &&& & & & & 7&7
7 8 8 7
$00 & 7 7 8 8 7 & 7 7
3
7
$00 & 7 7 8 8 7&
7 7 7
(00 & 7 7 8 8 7 & 7 7
)00 &7
7 8 8 7 &7
7
$00 7 7 7 7 7 7 7 7 7 7%%%
7 7 7 7 7
$00 7 7 77
7 7 7 7 7 7 %%%7 7 7 7 7
(00 7 7 7 7 7 7 7 7 7 7 %%%7 7 7 7 7
)00 77
77 7 7
77
7 7 %%%7 7 7 7 7 7 7
, # . , ,3 , , , # . , ,
3 , , , # . , # , , , , ,
,,, ,,,. , ,3 , , , # . , ,3 , , , ,,. , # , , , , ,
, # . , ,3 , , , # . , ,3 , ,,,,, , # ,3 : 1 , # , , , , ,
,, ## .. ,,,,,, .. ,,- : : 2 , # , , , , , ,3 ,- : 1 , # , , , , ,
, # , , , , , , # . . . , . . , 1 2 1 , . , , , , ;
, # , , , , , , # . .. . . , 1 2 , . # , , , , ;
, # , , , , , , # . . , , . 2 , . # . , , , . # ;
, # , , , , , , # . . , , . 2 . . . . , , , , . .
, , , , . . , , , , ; , , , , ,/ , ,0 , ,0 , , , , , ,
, , , , ; , , , , ; , ,/ , , , ,0 , , , ,0 , , , , ,
, . # . . , . # ; ,/ , , , , , , , ,0 , , , , , ,
.. .. .. .. . . . 2 , , , , , ,/ , ,0 , ,0 , , , , , , ,
38
!
"
!
"
Vln. 1
Vln. 2
Vla.
Vc.
fff p
h. = 60
226
fff p
fff p
fff p
Vln. 1
Vln. 2
Vla.
Vc.
f p p
molto rall.237
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39
dedicated to my brother Stephen
guitar quartet no. 1
Andrew Saletta
40
Harmonics (Harm.---) are notated with a diamond shape to indicate the desired sounding pitch,and are additionally sometimes specified with string and position, but placement is open to the player's discretion as long as the sounding pitch is achieved.
Pinch Harmonics (P.H.---) can be played where the player decides, again as long as the sounding pitch is achieved.
N.B.- Fermatas- as in mm. 58-59 and 66-67are intended to break the flow of theprevious pulse streams, the first angular fermata should be shorter in duration while the curved fermata should be slightly longer.
Pitch bends- make these very audible, but do not bend beyond a semi-tone (half-step). In this instance, arrive at the upper pitch and stay there for the rhythmic duration. Continue to repeat this figure after sim.
Always play this figure dedillo, in as fluid of a sound as possible, matching the energy of the musical phrase.
Rasgueado attack, dedillo portamento with forceful attack followed by very audible dedillo portamento. Arrival note is attacked but non rasgueado.
... in this instance bend to the upper pitch then back down to the starting pitch.
Performers Notes:
sl. (slides) and port. (portamento)- these are to be very audible. In some cases, the portamento is to be accompanied with a dedillo accentuating the figure.
41
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ff mp
ff
f
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sul pont.sempre semi vib.
pp f
q = 5695
sul tastosempre semi vib.
f ppsul tastosempre semi vib.
mf
sul pont.sempre semi vib.
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55
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ff p
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pp ff
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mf
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non vib.
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rasg.118
ff
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guitar quartet no. 1
56
!
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Gtr.
Gtr.
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sim.122
dedilloportamento
(non rasg.) sim.
(non rasg.) sim.
ff
rasg. dedilloportamento
(non rasg.)sim.
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pp
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f mp p
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guitar quartet no. 1
58
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guitar quartet no. 1
60
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(dedillo)
pp
157
f ff
sim.
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161
mf
mp mp
mp
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sempre mp
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guitar quartet no. 1
62
!
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Gtr.
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mp
172
decrescendo
decrescendo
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p pp
175
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pp
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177
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63
Andrew Saletta
...Now...Here
for Flutes and Percussion
64
Nota Bene-
- flz. = flutter tongue
- mm. 1-12- Bass Drum- small gradients of relative pitch change are notated on the two line staff showing relative pitch changes. Notes on the bottomline of the two line staff indicate no pitch adjustment. For notes above the bottom line, use either your hand or another mallet to depress the drum head to raise the pitch.
- mm. 38-40 - Flute 1 and Flute 4 - embouchure bends are to be as dramatic as possible.
- mm. 39-48 - Percussion 4 "water bowl"- this is a large metal bowl filled with a shallow depth of water. When the bowl is struck on the bottom surface from below, tilt the bowl from horizontal to angled or vice versa to achieve pitch changes. Experiment with angles and water depth to arrive at the best possible tone. Strive for more tone and less attack, softer mallets will help with this.
- Multipe pairs of maracas should be used throughout to obtain different timbres throughout the piece, especially in mm. 102-117, the maraca timbre should change seemlessly along with the volume fluctuations.
- This piece was premiered with a conductor. It is not necessary but will likely assist with keeping the group together.
Performer's notes:
Whistle Tones- To achieve this sound form a very narrow lip embouchure, and blow very gently to sustain the desired pitch. For more information on this technique see Robert Dick's The Other Flute: A Performance Manualof Contemporary Techniques 2nd ed.
Undertones- To achieve this sound, finger the top note fingering ("fingered note"), and blow less air than normally required for that pitch, so that the approximated pitch results ("sounding tone"). There are multiple undertone levels per fingered note, so be sure to catch the right one; you can cross check the pitch against the normal fingering for thesounding tone.
Percussion- 6 players - set up should be arranged so that Percussion 1-4 have smooth easy access to the instruments they needOrchestral Bells are shared between Percussion 1, 3, and 4; Timpani are shared between Percussion 3 and 4, and Wind Chimes are shared between Percussion 1 and 4.
Percussion 1: Snare Drum, Water Bowl, Wind Chimes, Orchestral Bells
Percussion 2: 2 Bongos and 2 Congas - tuned approximately minor 3rds apart
Percussion 3: Bass Drum, Timpani, Orchestral Bells
Percussion 4: Wood Block, Maracas (preferably multiple makes), Timpani, Wind Chimes, Tambourine, Orchestral Bells
Marimba- some optional octaves are indicated depending on the instrument being used
Vibraphone - no motor
In some instances both levels of undertone are played (by different players) as in mm. 28-30. Flute 4 plays the higher pitched undertones, while flutes 1 and 2 play the lower pitched undertones.
65
!
Copyright © December, 2011
Piccolo
Flute 1
Flute 2
Flute 3
Flute 4
Alto Flutein G
Bass Flute
Percussion 1Snare Drum
Percussion 2Bongos/Congas
Percussion 3Bass Drum
Percussion 4Wood Block
Marimba
Vibraphone
q = 52
pp
pp
pp
p
ff p
mf mp
q = 52
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$ % % % % % % %
Andrew Saletta
...Now...Here
$
whistle tone - no vib.
$
whistle tone - no vib.
$
whistle tone - no vib.
$ % % % % % % %
$ % % % % % % %
$ % % % % % % %
& % % % % % % %
& % % ' % % '3
5
&
B.D- raise pitch by pressing drum head with free hand in center of head while striking drum head with other mallet. Notations indicate relative pitch.' ' ' ' '
start with raised pitch, then lower through measure
norm.3
&Wood Block Maracas To Timp.' %
Timpani( %
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66
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3 B.D.
Perc. 4Timp.
Mar.
Vib.
8
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67
!
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 3 B.D.
Vib.
mp
11
mp
mp
non vib.
p ff p
non vib.
p ff
mp
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sounding tonefingered note
3 3 3 6 3
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3 3 3 6 3
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3 3 3 6 3
$8
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&gradual bend up
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68
!
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Fl. 1
Fl. 2
Fl. 4
A. Fl.
B. Fl.
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ff
14
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ff
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p ff
ff
ff
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rit.15
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norm.flz.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"
$
norm.flz.
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$
norm.flz.
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$8
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69
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
B. Fl.
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3 B.D.
Perc. 4Wood Block,
Maracas, Timp.
Vib.
ff
A tempoA
17
ff
ff
ff
ff
mpff
simile (mm. 1-12)
ff
mf mp
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70
!
Picc.
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Fl. 2
Fl. 3
Fl. 4
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B. Fl.
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3 B.D.
Timp.
Mar.
Vib.
ff
25
ff
ff
ff
ff
ff
pp
simile
mp f ff mp pp
p
mf fff
sfz mf ff
ff
ff
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+ + + + + + + + + + + " + + + + + + + + + + + ) 0
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) +, + +- + +4. +4 + + + + ++
) ++ ++, ++4 ++ ++ ++442 ++,-
++- ++-4 ++4.++
...Now...Here
71
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3 B.D.
Mar.
Vib.
fff
29
fff
fff
f pp
ff
ff
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" """" !" ""
"" !" ""
"" !" ""
"" !" ""
$flz.norm. remove flute from lips with
quick release into loud audible breath- indefinite pitch - "whoooshhh"
3 6 3
$flz.norm.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"
3 6 3
$flz.norm.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"
3 6 3
$
$
norm.flz.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"
3 6 3
$norm.flz.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"
3 6
3
$
norm.flz.
remove flute from lips withquick release into loud audible breath- indefinite pitch - "whoooshhh"3 6 3
&: :
& % :
& % :
$ % ++++
++++,,
++,,++-
++++-- #####
++, #####++,
( ' '
3
' ' :
3
$3
' ' :;<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
3
+ +, + +4 +- +4 + +4 + +, +- + +4 +- + +, + +- +4 +- +4 + +, +- + +4 + +,+ +, +- +- +4 +- +4 + 6- )
9+4
9+-, 9
+)9+,4 9
+%- 9
+4 9
+%9+,4 9
+) 9+-, 9
+4- 9
+-9+%4 9
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+- 9
+4- 9
+4 9
+%- 9
+,4 9
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+,4 9
+-9+,,
+ +, +- +- +4 +- +4 +- 6- )
9+4
9+-, 9
+)9+,4 9
+%- 9
+4 9
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+) 9+-, 9
+4- 9
+-9+%4 9
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+- 9
+4- 9
+4 9
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+,4 9
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+,4 9
+-9+,,
+ +, +- +- +4 +- +4 +- 6- )
* " + +0
9+% 9+, 9+ 9+4% 9+- 9+4- 9+- 9+4% 9+ 9+, 9+-% 9+- 9+4% 9+-- 9+ 9+,9+- 9+-, 9+4- 9+-- 9+4% 9+- 9+, 9+-% 9+- 9+4% 9
+- 9+,,+ +, +- + +4 +- +4 +- 6- )
+4 +- + +4 +- +4 + +4 + +- +4 + +4 +- + +- + +- +4 +- +4 + +- +4 + +4 + +,+ +, +- +- +4 +- +4 + 6 )
+ +, + +4 +- +4 + +4 + +, +- + +4 +- + +, + +- +4 +- +4 + +, +- + +4 + +,+ +, +- +- +4 +- +4 + 6 )
#####5 #####+ " #####+2 )
) " / )
) " / )
#####++ #####
++ ++.++44 )
++ +-++ +
++4.+4 + + + + + +- + + + + +
)
...Now...Here
72
!
!
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Wood Block,
Timp. Wind Chimes
Mar.
Vib.
B31
p
p
pp f pp
p
mf
B
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Wood Block,
Timp. Wind Chimes
Mar.
Vib.
34
mf
f pp pp
p
pp
"" !""" !"
"" !"
"" !"
"" !"
"" !"
"" !"
>" !" ""
>" !" ""
>" !" ""
>" !" ""
>" !" ""
>" !" "">" !" ""
& % % %
&secco
&B.D. normal slight mute with hand/arm3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
&Percussion
%
$secco
%
( % %'
$ %
& % % %
& % %
&3 3 3 3 3 3 3 3 no mute' '
%
&To Timp. (
Timpani
$ %
( % %
$ % % %
0 / +. ) 1 + / ) / + 1 + + 1 1 + / 1 + 1 +
/" +7 + + + + + + 1 + + + + + + 1 + + + + + + + + 1 + + 1 1 + + 1 + + + 1 + 1
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
++++,,,, ) +- 2 #####*- ###+- 0
0++++,,,,
0 +2 ###* ###+ 0
/ + / + )
+ + 1 + + + 1 + + + /" +7 +
+ + + + + + + + + + + + + + + + + + + + + + + + +2 / ) ) #####*
) +4 + 1 += + + ++4 ++4 1 ++= ++4 ++
++4 ++44 / ++4.++
(
...Now...Here
73
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
Perc. 1Snare
Perc. 2Bon./Con.
Perc. 3B. D.
Timp.
Mar.
Vib.
mf
C37
mf
molto vib.
p mf
mf
molto vib.
p mf p
mf
molto vib.
p mf p
mf
ffmf
ppp
ff
ff mf
p
p
dampened- seccoC
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
$ % %13 beat cycles=4+3+3+3
$ %
$ %
$ %
$ %bend down with embouchure
** ** ** **
&' To Water Bowl
%water bowl
&
Glissandorelative pitch slide
gliss.
&w/ soft yarn mallets
&'
% %
( To W.Ch.'&
Wind Chimes
<<<<<<<<< %
$ % %+ + +4 + + + " + " +4 + + +
(
'
$3 3 3
) / +. +
0 / +. + 09+%
9+4 9
+%9+,4 9
+) 9+-, 9
+4-
0 / +,. + ) / +. +
0 / +2 + ) / +2 +
9+%
9+4 9
+%9+,4 9
+) 9+-, 9
+4- 9
+-9+44 9
+- """" 9+
9+44 "
"/
9+
9+44 "
"/
9+
9+44 "
"/ )
+ + +2 / ) 0 ) ) / 6.#####5 #####* " #####+ #####*
+ ) 0
+. / 0 / +2 +2 / 0
/ +- 2 + +- +, +,
0+ + +, + + +4 +- + + +4 + + / +. / +. / +,.
...Now...Here
74
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1Water Bowl
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4W.Ch., Tamb.
Mar.
Vib.
p p
non vib.
mf p
40
p
non vib.
mf p mf
molto vib.
p
non vib.
mf p mf
molto vib.
p f
non vib.
mf
molto vib.
p f
molto vib.
mf
molto vib.
p mf
molto vib.
p mf
molto vib.
p
molto vib.
mf p mf
molto vib.
f pp mf
mf
ff p
legatosecco
legato pedal ad libitum
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
$ %'
%5
$bend down with embouchure ** **
norm. '
5
$'
5
$' ' ' ' '
5
$ %norm. '
' ' ' '5
$ %'
5
$ %'
5
& %simile
gliss.
&subito
& %3 3
% %
& % <<<<<<<<<< % %
$ % %+ + +4 + + + + + + " + + +4 +4 + " + ###**( '
' '
3
$ 33 3 3 3 3 3 35 3 3
+, + + +4 +- +. / / +4. + 0"
9+44 9
+-- "" /
9+
9+-- "" / ) +, + + +4 +- +. / / +4. + 0" ) /
+-. +
0" +, + + +4 +- +. / / +. + 0" ) / +. +
0" +, + + +4 +- +. / / +-. + " + + + + + " + + + / +-. +
+, + + +4 +- +. / / +- 2 + " + + + + + " + + + / +- 2 +
+, + +4 +4 +- +. / / +4. + 0" ) / +- 2 +
+, + + +4 +- +. / / +-. + 0" ) / +-. +
. / ) ) ) ) / 6..
/ ) )
#####+ #####* #####5 #####* " #####+ #####*+2 / / +2 0
) / +.+. / )
+ ++++, + + +, ###++4
/ +2 ) / 1+ + +, + + +4 +- + + " +4 + " + " + + +, + + " +- + +, + + +4 +- + +
...Now...Here
75
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1Water Bowl
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4W.Ch., Tamb.
Mar.
Vib.
p
secco44
p ff
molto vib.
mf
p ff
molto vib.
mf
p ff
molto vib.
mf
p
molto vib.
mf
p
secco
mp
molto vib.
mf
p
secco
mp
molto vib.
mf
pp
p
mf
ff p
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !""" !"
"" !"
"" !"
"" !"
$ % 3 3 3 3 3 %
$3 3 3 3 3 3 3 3
$3 3 3 3 3 3 3 3
$3 3 3 3 3 3 3 3
$
$3 3 3 3 3
35
$ 3 3 3 3 3 35
& %gliss.
%
& %
& % %
& <<<<<<<<<<<< % <<<<<<<<<<<<<
$ % '
( ' '' ' %
$
+ + + + +. / )
+ 9+4 9
+4- 9
+-4 9
+%- 9
+,4 9
+)- 9+-, 9
+4- 9
+--= 1 / 0" /
+. + *
+ /9+4- 9+-, 9+4- 9+-- 9+4% 9+- 9+, 9+-4 9+-- 1 0" / +. + *
+ )9+4 9
+4- 9
+-4 9
+%- 9
+,4 9
+)- 9+-, 9
+4- 9
+--= 1 / ) ) / +,. + *
+ 0 0" / +2 + *
+ 0 ) + + + + +4 +2 / / +2 + *
+ 0 ) + + + + + +2 / / +2 + *
) / 6.. / )
#####+ #####* + ) 0
) #####*/ +2 +2 / ) / +.
+. / )
0 +, + + +4 +- + ###+ ###+
###++&4' ###+ " +. + + + 0
+4 + + " +. + +, " +2 + + + +, + + + +4+ + + +
...Now...Here
76
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1Water Bowl
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4W.Ch., Tamb.
Mar.
Vib.
ff
molto vib.A temporit.
47
ffsubito mp
f ff mp
non vib.
ff subito mp f ff mp
non vib.
ff subito mp f ff mp
non vib.
ffsubito mp
f ff
molto vib.
mf
ff mf
molto vib.
ff
molto vib.
mf
ff pp
ffff ff p
f p
ff pp
ff fff p
ff mp
A temporit.
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
"" !"
$' 3 ' 3 ' 3 ' 3' %
3
$3 3 3 3 3 3 3 3 ' '
' '6 6
$3 3 3 3 3 3 3 3 '
6 6
$3 3 3 3 3 3 3 3 '
6 6
$3 3 3 3 3 3 3 3 '
'6 6
$ % % '
$ % %
&gliss.
gliss.
To S. D. Snare Drum ' 3 3 3 3 33 35
& % %norm.- w/ hands' '
%3
3
& % % %3 3
&(prepare tambourine)
<<<<<<<To Tamb.<<<<<<<<<<<<<<<<<<< Tambourine
$' ' ' ' ' ' ' ' ' '''
3 3
( % % % %
$'3
3
0 +4 " + + " + +- " +, +- " +++ + + + / +2 + )
*++ +, ++ + +, + + +++++++ +4 + +- + + + +4 + + + +, + +- 0 )
9*-
* ++ +, ++ + +, + + +++++++ +4 + +- + + *0 )
9*%
* ++ +, ++ + +, + + +++++++ +4 + +- + + + +4 * 0 )9*4%
* ++ +, ++ + +, + + +++++++ +4 + +- + + + +4 + + 0 / +2 +2 / / +2
* ) / +4. + / +4.
* ) / +2 + / +2
/ 6..
/ ) ) / 6.. / 0 + + ++++ ++ +++++67 /" )
+ + + ) + + ++++ ++
+ ) / +++ ++
0 / +2 +2 / ) / +.+2 / #####* " #####* "
###+++ "" ++ ++ ++ ++ ++ "" ++ ++ ++ ++ + + + + ++++++) + + + +
+, +,
+ + +,+ +- ++ + + + + +, + + + + +4 +- + + +4 + + + +, + +- ++44 ++++++ ++, + /
+2 + +,
...Now...Here
77
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Tamb.,
Orch. Bells
Mar.
Vib.
f p
51
p f p
p
p
mf
mp
mp
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
$ % % ' '' '
% %
$ %?
$ % % % % %
$ %?
$ ' ' ' ' '' ' ' '
% %
$ ' ' ' ' ' % % % %
$ ' ' ' ' ' % % % %
& %
& % % 3 3 3 3 3 3 3 3
& % % % % % %
&3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$ ' ''
( % % % % % %
$
+ "" + + + + " + + + +) )
9* ) 0 /
9+
9+4.
9+4.
9+4 9
+49+-4.
9+.
9+
9+
9+4-.
9+4.
9+4 9
+4- 9
+-4.
9*% )
9*4% ) 0 /9+ 9+,.
9+,.9+4- 9+- 9+4,.
9+.9+
9+- 9+-,.
9+,.9+4- 9+-- 9+4,.
+ " + + + + + " + + *+ "" + + + + " + + +4 + ) )
+&4' " +4 + + + + " + + *
+ " + + + + + " + + *
6 6 ) ) / 62 ) ) / 62 0 / 62 0 / 62 ) / 62 )
) / +. / +. ) / +. / +. ) / +. / +. ) / +. ) / +.
#####* " #####* " / + + / + + / + + 1 + + 1 / + + / + + 1 + + 1 / + + / + + 1 + + 1 #####* "
+ ++ + +, +, +4 +4
+ ++ + + +
+ + +4 +4+ + + +
+- +- +, +, + + + + + ++ + + + + +
+&,' + + + + +4 + +- + + + + + +4 +2 + +2 +, ++4 2 + +2 +, +
+- +4 + +
...Now...Here
78
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Tamb.,
Orch. Bells
Mar.
Vib.
fff ppf
D57
fff ppf
fff pp f
fff
fff
fff f
fff f
ff f
ff
fff sfz sub. pp mf
f p mp
fff
mp
pp mf
D
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
"" !" ""
$'
'' ' ' ' ' '
'3 3
$norm.- full tone ' ' ' ' ' '
'3 3
$gliss. ' ' '
'3
$norm.- full tone gliss.
% % %' ' '
3
$gliss.
% % %' ' '
3
$' ' ' ' ' ' ' ' ?
3 3 33
$'
'' ' ' ' ' ' ? ?
3 3 3 3
&' ' ' ' To W.Ch.
%Wind Chimes
%3 <<<<<<<<<<<<<<<<<<<<
&'
% % %
&' ' ' '3
&To Orch. Bells
$Orchestral Bells
soft rubber, or medium yarn mallets
$ ' ' ' ' ' % % %3
( %' ' '
'3 3 3 3
$3 3 3
3
3
3
+ + + +, + + +4 + + + + + * +4 + + +4 + + "" + *4)
0 +4 + + + +, + * +4 + + +4 + + "" + *4)
* + + + +4 +* +4 + + +4 + + "" + *4 )
0 +4 + + +4 +
*4 + + + +4 +
+ +4 + +, + + +4 + + + + + +- + +- +4 + +4 + +,+ + +- +4 + +4 +
+4 + + +4 + +4 + +, + + + + + +
+ + + +, + + +4 + + + + + +-+ +- +4 + + + +,
+ + +- +4 + + ++ + + +4 + + + +, + + + + + +
+ + + + + + + + + ++ + + + 0 +
#####* +2 / )
+ + + / / +2 ) + ) 0 + + 0
#####* +2 / )* + + + + + + "" + * )
+ + + + ++ ++ ++ )
+ +4 + + + +, +-+- +4 +4 + +-
+ + +4 + + + + +, + + ++- + ++
+ + + +, + +- +4 + + + + + + + +, + +-+4 + + + +, + +- +
+ + + +4 + + + +, +-/ ++.
...Now...Here
79
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1W.Ch.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Wood Block
Mar.
Vib.
ff
61
fff mp p ff
fff mp p ff
fff f
fff f
fff mp mp p
fff mp mp p
pp mf
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
"" !" !"
$ % % 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$ ? ? ? ? ? ? ? ? ? ? ? 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$ ' ' ' ' ' ' ' ' ' ' '3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$' ' '
3 3
$' ' '
3 3
$ ' ' '
$ ' ' '
&<<< To Orch. Bells % % %
& % % % %
& % % % %
$ % % % %
$ % % % %
( optional 8va (end opt. 8va)'
$
0" ) +, + +, + + + + + +, + +- + + + +, +
+ +- +, + + + + + + + + + + + +, + + + + + + + + +, + + + + + + + + +, +, + + + + + + + +, + +- + + + +, +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +, + +, + + + + + +, + +- + + + +, +
+ + + + + + + +, + + +- + + *4 + + + + +4 +4 +, + +
+ + + + + + + +, + + +- + + *4 + + + + +4 +4 *,
+ + / + + / + + / + * " *4 + + + + +4 +4 +, + +
+ + / + + / + + / + * " * + + + + +4 +4 *,
+2 / ) 0
+ ++ + ++ + ++ ###+- ###* " ++,, ++ ++ ++ ++ ++ ++ ++ ++ ++ ++-- ++++44. / )
) / ++++
++2 ++
++ /++. ) / ++
++,, . /++442 ++,,
++
...Now...Here
80
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1W.Ch.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Wood Block
Mar.
Vib.
p
65
p
mf
molto vib.
mf
p f mf
molto vib.
p mf mf
molto vib.
ff f
ff f
pp
fppp
ff
""
""
""
""
""
""
""
""
""""
""
""
""
""
$' ' '3
$'
%3
$ '
chromatic glissando- as far as you can go in an eighth note value! ' glis
s. ' gliss. ' glis
s. 'glis
s.
$'
? ? ? ?
$'
chromatic glissando- as far as you can go in an eighth note value! ' glis
s. ' gliss. ' glis
s. 'glis
s.
%
$3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ' ' ' ' ' ' '' 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ' ' ' ' ' ' ''
3 3 ' 3 3 3' 3 3 3 3 3' 3 3 3'
& % $Orchestral Bells
%rubber mallets
& % % % %
& % % % %
$ % Wood Block % % % &
$ % % % %
( 3 3 3 3' %
$ % %
0++ + + +4 + + +4 + + "" + *4
) 0"
+ + + + +4 + + +4 + + "" + *4)
+ ) $+2+. . $+2 +. . $+2+. . $+2+. . *4 " * "
*+- + + + 0" *4 "
* $+- 2+. . $+2 +. . $+2+. . $+2+. . *4 "+- + +4 + + + +- + +, + +- +++ +, + +- + + + + + + + / ) + + + + + + + + / ) + + + + + +
+- + ++ + + +- + +, + +- +++ +, + +- + + +, + + + + / ) + + + +, + + + + / ) + + + +, + +
0+ + + +, +4 + )
0 +4 +4 ++ ++++ ++-- ++ ++ ++ #####++ +
+++ + + + + )
/++,, / /
++2 / ++,,
++.++,
...Now...Here
81
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S.D.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Maracas
Mar.
Vib.
pp
flz.
fff
69
flz.
fff
f
flz.
fff
f
flz.
f fff
f
f
ff
ff
ff
cresc.
mp f
f
""
""
""
""
""
""
""
""
""""
""
""
""
""
$'
%
$ % % % %
$'
%
$'
%
$'
%
$ 3 3 3 3 3 3 3 3 3 3 % ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 '
$3 3 3 3 3' 3 3 3' 3 3 % ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 '
$To S. D.
% &Snare Drum
%'
& % % % %
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+ 0"
+ 0"
++,@ ++ ++ ++ ++, ++ ++ ++ ++,- ++ ++ ++ ++ ++ ++ ++
0" + + +4 +4 + * 0
...Now...Here
82
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3Timp., B.D.
Perc. 4Maracas
Mar.
Vib.
ff
flz.
sfzp ff mp
E73
ff
flz.
sfzp ff mp
mp ff f
mfmp ff f
mp
opt. 8va
ff
mf
mf
pp f pp
mf p ff
ff p
mp p
f mp
mf
E
$' ' ' 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 5 6 6 6
$' ' ' 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 5 6 6 6
$ % ? ? ? ? ? ?3 3
$ 3 3 3 3 3 3 ? ? ? ? ? ?3 3 3 3
$ %
$' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 ' '' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3 ' ' 3 3 3 3
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%' ' 3 3 3 3
& % %
& ' ' ' ' ' ' ' '
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$Maracas
$ % % %
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#####* #####*/ + + + + +++ + +++ + +++ + + + + + + + + + + + + + + + + +2 / ) 0
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0 ) ++ +, +, ++
...Now...Here
83
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3Timp., B.D.
Perc. 4Maracas
Mar.
Vib.
ff
F76
ff
mf ff
mf ff
mf ff
f ff
f ff
mp ff p ff
f
ff
mf ff pp
ff
F
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% % %
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.'
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.'
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& ' ' ' ' ' ' ' ' ' ' ' '
( %B.D.
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$ % % %
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+ ++ ++4 ++#####**
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...Now...Here
84
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3Orc. Bells
Perc. 4Maracas
Mar.
Vib.
mf f p
81
f
f
mf ff mf ff p
mf ff mf ff p
mf
mf
sfz sfz sfz
p sfz p sfz p sfz p sfz
pp mp mf
mp
mp mf
!" !" ""
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$'
$3 36 6
$6
3
6 3
$ 6 3 6 3
$ 6 3 6 3
$ % % % % 3 3 3 3 3 3 3 3 3 3 3 3 35
$ % % % % 3 3 3 3 3 3 3 3 3 3 3 3 35
& %' '
%'
&' ' ' '
&To Orch. Bells3 % % $
Orchestral Bells
% $
$
$ % % % % %
( % % % % %
$ % % % %
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)
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...Now...Here
85
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B.D.
Perc. 4Maracas
Mar.
Vib.
mf
86
mf
mf
mf
f
molto vib.
molto vib.
f
molto vib.
f f
pp f pp
p sfz p sfz p sfz p
mp
mf
""
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$ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$flz.'
$ ' ' '3 3
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$
& %
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& %3
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% % 0+4 + + + + + + +
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++ ++-.++ ++.
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...Now...Here
86
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B.D.
Perc. 4Maracas
Mar.
Vib.
f pp mf
G89
f pp mf
f pp mf
f pp mf
mf
p
p
sfz ppp p ppp
ppp sfz
p
mp
G
$flz3 3 3 3 3 3 3 %
norm.
'3
$flz3 3 3 3 3 3 3 %
norm.'3
$flz.
3 3 3 3 3 3 3 %norm.
3
$3 3 3 3 3 3 3
%norm.
3' 3
'3
3
$ % % 3 ' 3'
3 3
$' ' ' ' ' ' ' ' ' ' ' ' ' ' '
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
$' ' ' ' ' ' '
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& %'
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% % %
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$ % % 3' 3
'3
3
+ + + + + + +. / 0 + +, +- + + * "+- + + + + + +. / 0 + +, +- + + * "
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) +4 "" +- * + + + + + + + "" ++4
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...Now...Here
87
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B.D.
Perc. 4Maracas
Mar.
Vib.
f mp
93
fff p p
legato
fff p
legato
p
ff p
legato
mp
p mp p p sfz
sfz p
"# A#
"# A#
"# A#
"# A#"# A#
"# A#
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$ 3' 3 ' % 3 3 3 3 3 3 3 3 %3 3 3 3
5
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5
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5
$3 ' ' ' ' '
$3 '
% 3 3 3 3 3 3 3 3 %3 3 3 3
$' ' ' ' ' ' ' ' ' ' ' ' ' %
3 3 3 3 3 3 3 3 3 3 3 3 3 3
$' ' ' ' ' ' '
' '' ' ' ' ' '
&3 3 '
% %
& % % % % %
& % % Bass Drum ' mute with hand3 3To Orch. Bells
%3
$ % % % % %
$'
% % % %
( ' ' ' ' ' '
$ % % % %
+ "" + *, + +- + + + + + + "" + *,++1 ++1/ ++1++1/ ++1++1
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...Now...Here
88
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Perc. 1S. D.
Perc. 2Bon./Con.
Perc. 3B. D.
Perc. 4Maracas
Mar.
Vib.
legato
p
H98
f mp
f mp mf
legato
fmf
legato
pp
pp mp
mp
mf p
H
A# "#
A# "#
A# "#
A# "#A# "#
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$ % % % % %3 3 3 3 3 3
$ %3 3
$3 3 3 3 3 3
$$ % %
'% %
$ % '2:3e 2:3e
4:6x 4:6x 4:6x 4:6x 4:6x 4:6x
$ % 3 3 3 3 3 3 3 3 3 3 %3 32:3e
2:3e 2:3e 2:3e 2:3e 2:3e
& % % % % % % % %
& % % % % % % % %
& % % %Orchestral Bells
$ % %soft malletslegato
3 3 3 3 3 3
$ % % % %shake fast... shake slow... fast... slow...
$ % % % % % % % %+4 + +4 +
( % % %
$ % % % %
) +4. + +-. + +. + +4. + +-. + +4.
+ +. + +4. + +-. + +4.
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)
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.+- +
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...Now...Here
89
!
Picc.
Fl. 1
Fl. 2
Fl. 3
Fl. 4
A. Fl.
B. Fl.
Orch. Bells
Perc. 4Maracas
Mar.
Vib.
fff
106
fff
fff
mp
legato
fff n
fff n
fff n
n
p
$ % % % % % % %3 3 3 3 3 3 3 3
$ % % % % % % % % % % % %
$3 3 3 3
% % % % % % % % %
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$ % % % % % % % %3 3 3 3 3 3 3
$simile...
$ % % % % % % % % % % % %
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+.
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+, + +4 +- +4 +-
+ " +. + + + + + + " +. + + + + + + " +. + + + + + + " +. + )
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...Now...Here
90
abso
lute
els
ewhe
refo
r G
amel
an in
Pel
og S
cale
And
rew
Sal
etta
91
Dem
ung
Slen
them
Ken
dang
Kem
pul/K
enon
g/ K
etuk
(typ
ical
ly p
laye
d by
one
pla
yer)
Key
Gon
g/G
ong
(typi
cally
pla
yed
by o
ne p
laye
r)
abso
lute
els
ewhe
re w
as w
ritte
n fo
r the
Gam
elan
Enc
anta
da o
f Alb
uque
rque
New
Mex
ico,
as a
par
t of
a p
erfo
rman
cefo
r the
UN
M Jo
hn D
onal
d R
obb
Com
pose
r's S
ympo
sium
, 201
2. M
y si
ncer
est t
hank
s go
to a
ll m
embe
rs o
f the
gro
upfo
r the
ir ha
rd w
ork
on th
is p
iece
.
Inst
rum
enta
tion:
Gam
elan
in P
elog
scal
eB
onan
g 1
Bon
ang
2Pe
king
Saro
n
Perf
orm
ers'
Not
es:
-As e
ach
Gam
elan
is u
niqu
ely
tune
d to
itse
lf, a
nd is
not
an
equa
l tem
pere
d or
ches
tra, p
itche
s in
the
pelo
g sc
ale
that
is u
sed
byth
e G
amel
an E
ncan
tada
app
roxi
mat
ely
corr
elat
e to
the
follo
win
g nu
mer
ic sc
ale:
D
=1, E
-flat
=2, F
=3, G
-sha
rp=
4, A
=5, B
-flat
=6, a
nd C
=7.
-In a
dditi
on to
the
staf
f not
atio
n, th
e nu
mer
ic p
itche
s hav
e be
en in
clud
ed in
this
scor
e be
caus
e m
any
Gam
elan
's pl
ay a
ccor
ding
to
num
eric
not
atio
n ra
ther
than
con
vent
iona
l not
atio
n.
-Gon
g- A
ll to
nes a
re to
be
play
ed l.
v.
-Gon
g- m
m. 6
-8, p
lay
on th
e ed
ge o
f the
key
with
a st
rong
strik
e in
ord
er to
get
as m
any
of th
e ov
erto
nes a
s pos
sibl
e. T
hen
mut
e th
e pi
tche
s ind
icat
edw
ith x
not
ehea
ds o
n th
e be
at in
dica
ted,
allo
win
g th
e on
e no
n-m
uted
tone
to ri
ng th
roug
h. L
et th
is to
ne ri
ng a
whi
le b
efor
e m
ovin
g to
the
next
mea
sure
.
-At r
ehea
rsal
mar
k C
, the
mel
ody
is sh
ared
bet
wee
n de
mun
g an
d sa
ron/
peki
ng, a
s ind
icat
ed b
y th
e ar
row
.
-At r
ehea
rsal
mar
k E
, pla
yers
are
to p
lay
ad li
b. q
uick
arr
hyth
mic
pul
ses o
n th
e in
dica
ted
pitc
hes,
in a
n at
tem
pt to
be
play
ing
out o
f rhy
thm
fom
the
othe
r pla
yers
. A
dditi
onal
ly th
ey a
re d
irect
ed e
ither
to p
lay
the
tone
dam
pene
d by
thei
r fre
e ha
nd, o
r to
let t
he to
nes r
ing.
Ove
r the
se th
ree
mea
sure
s, th
e di
rect
ions
cha
nge
for e
ach
play
er.
Be
care
ful t
o fo
llow
the
dire
ctio
ns e
xact
ly.
-At t
he e
nd o
f E, m
. 89,
the
kend
ang
lead
s the
orc
hest
ra fr
om th
e ar
rhyt
hmic
pul
sing
slow
ly to
war
ds a
stea
dy a
nd c
onfid
ent 7
/8 p
ulse
slow
ly a
ccel
erat
ing
to th
e te
mpo
at r
ehea
rsal
mar
k F.
Tak
e yo
ur ti
me
with
this
sect
ion,
the
kend
ang
play
er sh
ould
onl
y gi
ve th
e tw
o m
easu
res o
f cue
whe
n he
/she
feel
s the
or
ches
tra h
as fi
rmly
lock
ed in
to th
e 7/
8 pu
lse.
-Kem
pul,
Ken
ong,
and
Ket
uk- T
his t
rio o
f dis
c sh
aped
inst
rum
ents
is tr
aditi
onal
ly p
laye
d by
one
per
son.
Kem
pul (
top
line)
and
Ket
uk (b
otto
m li
ne) a
re
non-
pitc
hed
tone
s, w
hile
Ken
ong
(mid
dle
line)
follo
ws t
he p
elog
scal
e. K
enon
g is
indi
cate
d by
the
appr
opria
te n
umer
ic p
itche
s. T
radi
tiona
lly, K
etuk
ispl
ayed
with
a lo
ose
mal
let l
ettin
g th
e m
alle
t dra
g or
buz
z sl
ight
ly a
long
the
disc
; ple
ase
aim
for t
his t
radi
tiona
l tec
hniq
ue.
92
! " ! "! "
Slow
ly a
nd F
reel
y
q = 4
0q =
84
Aq =
66
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lute
els
ewhe
reA
ndre
w S
alet
ta
Bon
ang
1B
onan
g 2
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nan
d Pe
king
Dem
ung
Slen
them
Ken
dang
Kem
pul
Ken
ong
Ket
uk
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g
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94
! " ! "! "23B
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95
! " ! "! "34
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! " ! "! "54
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se, e
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s sho
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s flu
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nd se
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ss a
s pos
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dang
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e tw
o si
gnal
s (m
. 90)
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ach.
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econ
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e, e
nsem
ble
mov
es d
irect
ly in
to A
Tem
po a
t re
hear
sal m
ark
F.89
% % % % % % % % % % % % % % % %
2x 2x
% % % % % % % % % % % % % % % %
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115
PART II: THE INTEGRATION OF FREE-IMPROVISATION IN THE COLLEGE MUSIC CURRICULUM
BY
ANDREW SALETTA
116
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Historically, [free-improvisation] pre-dates any other music—mankind’s first
musical performance couldn’t have been anything other than a free
improvisation—and I think that it is a reasonable speculation that at most times
since then there will have been some music-making most aptly described as free
improvisation.
-Derek Bailey (p. 83)
Musical practice has come a long way over the millennia since these
aforementioned musical utterances. To think about how fast musical sounds have
evolved, and how quickly they have then been perceived as new and distinct styles, is an
absolute mystery to me. In this paper, I’ll be discussing one of those mysterious musical
phenomena: improvisation. Specifically, I’ll be discussing free-improvisation.
Defining Improvisation and Free-Improvisation
It is important to consider how improvisation in general is defined, practiced, and
perceived, because it directly informs the way that improvisation currently exists, and
might potentially exist in new ways, in any institution’s music curriculum. How does one
define improvisation? Solis (2009) describes it as “...in the broadest sense, the practice of
making compositional decisions in the moment of performance...” (p. 1). Countless
variations on its definition exist, however as one can see, Solis’ definition and most
others include mention of extemporaneousness and intention within real-time musical
creation. However, in Solis’ definition we are limited by the word “performance.”
Kratus (2012) addresses this and describes two different ways of improvising:
117
One can improvise with either a process or product orientation. Adults tend to be
oriented to improvisation as a product, that is, as something to be shared with
others and that conveys some musical sense (i.e., that is nonrandom). Young
children tend to be oriented to improvisation as a process and to engage in it for
the pure joy of making musical sounds. (p. 371).
For the purposes of this paper, I would like not to limit it to “performance” but to include
music created publicly, or privately, alone, or with others.
So then, what is free-improvisation? There are other names and a variety of
approaches, but one of the unifying elements beyond extemporaneousness and
compositional decisions is that it is improvisation that does not necessarily reference any
particular style, period, or culture and therefore is not reliant on those musical
vocabularies (Bailey, 1992, p. 83). Further, twentieth-century trends in music such as
experimentalism, or non-traditional techniques, timbres, and materials (Schafer, 1969, p.
5-6) directly inform free-improvisation. Therefore for the purposes of this paper free-
improvisation is defined as: Extemporaneous and intentional musical creation that does
not refer necessarily to any particular style of music; that can exist in a variety of settings
including those settings shared only by those participants involved, or in settings shared
with an audience; by participants in a group or by participants alone; and with either a
process or product oriented objective.
=>&'?*&%"@$>&ABC@'DA,"+A'*&%EC%@A%*F%&
I grew up improvising all the time, and mostly I was trying to fit into the styles
that I listened to on the radio or that I played in band. I also played in a community flute
choir, and took flute and piano lessons; but I outside of these groups, I found myself with
118
my friends, my brother and his band just jamming—learning to create on the spot, to go
with the flow of the music, to play those sounds that simply fit even though we didn’t
know why. I quickly learned that the patterns – consisting of different harmonic sets,
melodic shapes, rhythmic figures – that I used in one style didn’t necessarily fit with
another and my ears were challenged to decipher on their own what fit and what didn’t. I
learned countless skills during these hours of exploration, and I believe they have been a
major factor in how I was able to learn and make sense of traditional music theory. Upon
reflection, even today I continue to learn and make music theory connections when I find
myself improvising in a style or freely.
=>&C"+G&+'?"@H&(@%%IABC@'DA,"+A'*&As an aural theory instructor for two years at the University of New Mexico I
worked with students with a variety of musical backgrounds and competencies. I
observed that when I had prepared activities in which students were able to freely create
and make music out of the strict confines of prescribed examples, they rode a roller-
coaster from being tentative and unsure at first, to delighted and excited by the end of
each activity. They appeared to be glad to have been given that musical freedom. I
began to wonder how much learning was happening during this activity. I didn’t have the
means to quantify it, but I do know their vocal intonation suddenly improved, their group
communication was impressive and exciting to witness, and in my mind the biggest
indicator of success was that they all had smiles on their faces.
I don’t deny the extreme importance and necessity of the exercises and drills we
did every day, however I made sure that my lessons included at least a little time for
improvisation. I began envisioning a forum where students could freely improvise
119
together, and have it be an integral part of their musical education. To be clear, however,
I knew that from the beginning I was not envisioning improvisation in any specific style.
I was really curious what students would create when told it didn’t have to follow any
rules. I therefore began envisioning a forum where this could happen for students. I
began exploring free-improvisation.
Research Problem: Free-improvisation in the college music curriculum
Bailey (1992) writes about free-improvisation: “[d]iversity is its most consistent
characteristic. It has no stylistic or idiomatic commitment. It has no prescribed idiomatic
sound. The characteristics of freely improvised music are established only by the sonic-
musical identity of the person or person’s playing it” (p.83). The more I thought about
these descriptions, and the more free-improvisations I listened to, the more I wondered if
this existed in college music curricula. If so, where? And how was it presented?
The National Association of Schools of Music (NASM) lists in its competencies,
“the creation of original compositions or improvisations, variations, or improvisations on
existing materials... and manipulating the common elements in non-traditional ways”
(NASM, 2012 b, p. 2). Additionally, one of the goals is to “continue to develop
improvisational skills whether as an aspect of composition, musicianship, or performance
studies” (NASM, 2012 b, p. 3). Clearly, this accreditation board considers improvisation
to be an integral part of musical studies. Not only do they consider it to be integral, but
they also specify “manipulating the common elements in non-traditional ways.” This
suggests a need to go beyond the conventional views of improvisation, specifically the
traditions of jazz, rock, and certain classical music practices.
120
At the University of New Mexico (UNM) where I worked on my master’s degree,
students in either jazz studies, or music education are the only music majors required to
take an improvisation credit (Kostur, personal communication, June 29, 2012). Why is
this a requirement of only certain majors? Additionally the only four courses meeting
that requirement are “Introduction to Improvisation” (a non-jazz improvisation course)
which promotes audiation skills within the tonic and dominant harmonic functions, and
“Jazz Improvisation” levels I, II, and III (Dalby, personal communication, June 20,
2012). Of course jazz ensembles and combos also exist as forums where students have
ample opportunity to engage in improvisation. The main point is that music students
seem mostly to have traditional improvisation forums as their primary option and few
options exist.
So where does “non-traditional” fit into the picture? One unique option exists for
music students at UNM, the “Electric Ensemble” and is a course offered only as an
ensemble credit. Unfortunately, due to a technicality, the Electric Ensemble does not
count as an improvisation credit for those students who do take the course (Sheinberg,
personal communication, August 17, 2012).
While I am grateful to see these courses, it is the premise of this research that
most collegiate music institutions offer only a limited spectrum of improvisation courses;
Borgo (2005) also points to a similar trend in the American college system that “[t]here
were no courses on free-improvisation at UCLA where I did my Ph.D. in
ethnomusicology, and there are few courses of this kind in the university setting
anywhere” (Borgo, p. 8). As one will see in my own research methods, my evidence
suggests a similar trend.
121
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The purpose of this study is to argue for the inclusion of a free-improvisation
forum in college music curricula and open the dialogue about how free-improvisation can
benefit musicians interested in all areas of study. In this paper, I will first discuss how
improvisation is presented in a variety of published materials including histories,
research, and methods. Along the way, I will also discuss non-academic sectors in which
improvisation is practiced, specifically by music-therapists and their clients, and by
performing artists. I will discuss how models for improvisation used by music therapists
may offer an important perspective into refreshing ways to integrate improvisation into
an academic setting.
Next, I will present a brief survey that suggests the status of improvisation course
content in selected colleges in the US. Then I will describe and discuss two field
sessions in which I presented a series of original free-improvisation activities that I used
within my own college teaching. I assert that the inclusion of free-improvisation in a
college curriculum serves to fulfill three important objectives for musicians: 1) to reduce
musical inhibitions by creating a safe space in which to explore musical creativity, 2) to
allow participants to construct their own knowledge and meaning in music, thereby
giving them more ownership of their education and, finally, 3) to expand the definition of
music thereby broadening one’s understanding, acceptance, and appreciation of a
diversity of musical languages.
122
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The problem of integrating free-improvisation in the college music curriculum
requires a review of literature related to improvisation. In this section I will present a
review of literature including published materials in common practice period
improvisation, jazz, world music, and popular music improvisation, and free-
improvisation. I will then review studies on musical creativity, music therapy, and
philosophical dialogue about improvisation.
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The common practice period commonly accepted and defined as western art music
that is situated in the Baroque, Classical, and Romantic periods (approximately 1650-
1900). The practice of improvisation has existed in Western art music since the late 15th
century (Horsley, 2001, p. 98). However as historical research has shown, it existed in
different ways from what people today consider as improvisational practice. In the
eighteenth-century music “improvisationally-influenced forms include the prelude, fugue,
ricercar, toccata, cadenza, canzona, variations, tombeau, recitative, and the capriccio”
(Espinosa, 2000, p. 6). Depending on the musical form, they could be realized as
embellishments of existing musical lines such as ornamentation and elaboration, or as
completely new lines (Gould and Keaton, 2000, p. 143).
Cadenzas, emerging from the concerto, were another popular form of
improvisation; but by the 19th century, these too became completely notated by the
123
composers (Rink, 2001, p. 120). The cadenza is a musical practice in which the
performer is free to extemporize on their instrument or with their voice; the performer fits
their performance of the cadenza within a certain structurally, or sometimes tonally
informed framework and it is then realized through a degree of improvisation (Bribitzer-
Stull, 2006, p. 220).
Today this degree of improvisation in the classical idiom is not as widely practiced,
but such historical research provides us an insight into what improvisatory practice across
the centuries may have been like. McGee (2003) explores the importance of
improvisation in late Medieval Italy:
[t]he poet/musician was far more than an entertainer; he was the person entrusted
with passing on the history of the tribe—including myths, beliefs, and tales of good
and evil—and he did this by setting his stories to music. In Italy during the late
Middle Ages there were many such singers in each community, and there are
numerous literary references to improvised song and music... (p. 31).
Amateurs on up to professionals practiced these strong traditions of musical
improvisation set to poetry, and depending on the occasion, certain styles would be used
in order to best fit the poetry (p. 35). Polk (2003) explains that by 1475, professional
instrumental musicians would perform via three typical approaches: to play a notated
piece just as written, to play a piece using ornamentations and embellishments, or to
improvise (p. 98). To point to the broad reach of this practice, he notes that these
conventions of performance were accepted across nations and were not unique to any
singular country (p. 100). Lutterman (2011) examines eighteenth-century musical
treatises, practice of thorough-bass, and notated viol and cello music to understand the
124
way musicians may have used improvisation. Espinosa (2000) discusses C.P.E. Bach’s
Fantasia’s, being largely influenced by rhetorical structures, and their relation to
improvisatory practice of the period. Edin (2011) explores how the practice of
extemporizing at the fermata sign became the common practice of eighteenth- and
nineteenth-century solo piano music, leading to what we know of as the cadenza. Petho-
Vernet (2011) uncovers the dichotomous relationship between composed and improvised
Hungarian popular music of the nineteenth-century influencing what became a distinct
national style. These and many other historical inquiries give us a glimpse into
improvisation of ages past.
In addition to historical research, modern practical methodologies have been
written in order to preserve and continue common practice period informed
improvisation; most are woven into a structure simultaneously teaching tonal music
theory. Today, keyboard performance is one specialty in which improvisation of
common practice music still exists, particularly by church pianists or organists. Countless
keyboard methods have been printed over the decades. First Lessons in Extemporizing
on the Organ (Macdougall, 1922) offers an early 20th-century American method of
keyboard improvisation clearly directed towards organists who are required to lead
church congregations.
Rabinoff’s (1970) The Improviser: Companion Book to Musicianship Through
Improvisation at the Keyboard has a logical progression with rhythmic exercises, melodic
patterns, and harmonic contexts framing the method. She guides the musician to learn to
embellish pre-existing musical examples according to the tonal vocabulary in which she
is situated, that of course being the tonal and rhythmic patterns typical of the common
125
practice period. Lloyd (1975) offers another method through the same tonal theory type
exercises with a similar aim as Rabinoff’s.
Azzara (1997) provides a simple yet effective framework utilizing folk songs and
tonal patterns, and it is strongly rooted in tonal harmony. Sarath (2010) provides a
method for learning the basic skills of musicianship, through a similar progression as
compared to other theory manuals for beginning music students - from diationic to non-
diationic, and from conventional harmony to more modern practices including jazz, rock,
and other popular and cultural inclusions; however, students are guided through
improvisation and composition as the basis for apprehending the music theory
fundamentals. The publication provides a CD with audio examples and play-along
tracks. Improvisation serves here again as a vehicle for learning theory of the tonal
practice of Western art music. Unlike Rabinoff and Lloyd, both Azzara’s and Sarath’s
methods are not instrument specific. Sarath additionallly provides, as mentioned,
examples from a variety of other musical practices.
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Improvisation is an integral part of jazz. “Improvisation…has long been seen as
the hallmark that sets jazz apart from other musics, even though many musical cultures of
the world do improvise to one degree or another” (Szwed, 2000, p. 43). And as I will
show later through my college survey (Tables 1, 2, and 3), a notable amount of courses
offer direct instruction in jazz improvisation; further, improvisation from other cultures is
beginning to be offered in more and more college programs.
Pioneering work by Hall (1944, as cited in Prouty, 2004) in his “The
Development of a Curriculum for the Teaching of Dance Music at a College Level”
126
helped pave the way for jazz in the colleges. As Mark (1987) reminds us, jazz music and
jazz improvisation were not always widely accepted parts of the music college
curriculum; but over the decades, a slow change in cultural values, among other factors,
ushered in a paradigm in which students can now study jazz as their main focus through
their college career (p. 21). With this new paradigm, of course came the publication of
methods and manuals.
Theory and practice based methods or guides to jazz improvisation are numerous
and most deal with the techniques, building jazz vocabularies, and the how-to of
improvising in the jazz idiom. Guides such as Jazz Improvisation, a four volume set by
Mehegan (1962), Jazz Improvisation by Kynaston and Ricci (1978), among similar
publications provide rhythmic, melodic, harmonic pattern exercises for the learners and
guide them through jazz theory: scales, arpeggios, chord progressions, etc. Creative Jazz
Improvisation (Reeves, 2007) offers an extensive method with a similar progression
through rhythm, melody, and harmony. This publication comes with a CD for the player
to practice with, as do many other practical guides on the market today. All three of the
above books offer examples of transcriptions of original recorded improvisations to point
to real musical models from notable musicians; they get to hear the rules broken, and to
hear musicians make “mistakes” and hear how they fix them in real time; for Kenny and
Gellrich remind us of “the old jazz adage that its not a mistake if you play it twice”
(2002, p. 120). Clearly, hearing and witnessing the real world experiences of practicing
jazz musicians is an invaluable experience for jazz students.
Baker (1983) wrote Jazz Improvisation: A Comprehensive Method for all
Musicians among numerous other jazz manuals with guided instruction through jazz
127
theory via exercises and tunes. Publications such as Aebersold’s (1980-2011) Play-A-
Long Series (Volumes 1-128) are popular among musicians at any level wanting to learn
the basics of jazz on up to specific jazz styles as represented by famous musicians.
Aebersold published some manuals which are devoted to specific musicians such as
Charlie Parker, Duke Ellington, and Herbie Hancock among voluminous others. These
are some of the most popular manuals for step-by-step, individually guided and
motivated jazz instruction. It should be noted that it is prerequisite that a musician be
able to read notated music in order to work through Aebersolds and all of the above
methods.
Other authors provide manuals and resources for educators. Poulter’s (2008)
Teaching Improv in Your Jazz Ensemble: A Complete Guide for Music Educators begins
by first providing a background in jazz history, the art of improvisation, and jazz
education and its evolution. Then it continues into step-by-step methods for including all
the elements of jazz. Working through the technical considerations of jazz theory: scales,
chords, progressions, and forms, he proceeds to the sequencing of instruction, and
activities for improvisation.
It is important to consider how these jazz improvisation methods function on a
pedagogical and cognitive level. In the above methods, many authors focus and rely on
the schemata, syntax, or vocabulary of the jazz idiom. These are defined by the specific
referents or patterns that make jazz unique, such as a 32-bar structure, or commonly used
rhythms or chords (Pressing, 1998, p. 52). So, a melodic line in the style of Mozart’s
keyboard music contains different pitch patterns from those in a passage of Miles Davis’
music; and the same goes for harmonic collections, functions, and motions, and rhythmic
128
sequences. Additionally these referents can exist for each individual musician in a
variety of ways: “[m]emory is one repository for the referent; real-time display, that is,
notation, is another. Many improvisation traditions use no notation; of those that do,
there is a range of relations between notation and production” (Pressing, 1998, p. 58). So
in music education we learn the patterns for a particular style through visual, aural, and
kinesthetic modes, and they are likewise catalogued in a variety of ways.
Sloboda (1985) reports that it is these referents that effectively limit a performer’s
choices and therefore directly structures the perceptual framework for the audience—it is
what makes an improvisation sound like a blues improvisation versus a country-western
improvisation. Sloboda however argues a difference in the presentation of the referents;
in regards to these melodic, rhythmic, and harmonic patterns, Sloboda argues:
[s]uch devices are almost exactly analogous to the formulas of epic poetry. They
constitute the vocabulary of jazz. However, just as Yugoslav singers do not
memorize a dictionary of formulas, so jazz improvisation is not normally learned
by arming oneself with a list of characteristic chords and progressions. Jazz is
learned through listening intently to other musicians and performing with them.
Books and notation are not necessary; many great jazz performers could not read
a note of music (p. 143).
Sloboda places his emphasis on the listening skills of the musician to effectively build up
their musical memory, while Pressing suggests that learning the referents can come from
any number of methods. The authors of the jazz methods described above, which all
offer rich, notationally driven resources for learning jazz improvisation would surely
agree that listening is key—if not the fundamental component to learning to improvise—
129
however, their publications rely on notational explanations and analyses of these jazz
formulae. Regardless of where these referents begin—in one’s memory, a recording, or
on notation—they are the specific elements that make up a jazz improvisation, and
ultimately the goal is for them to work their way into a musician’s improvisations in the
heat of the moment.
As world music programs become more and more integrated into music
departments, interest in the improvisational practices of our world’s diverse cultures
grows too. Certainly, studies of each unique practice exist, and any textbook on world
music would provide a good introduction to a variety of musical cultures. However,
regarding specific cultural improvisatory practices Nettl and Russell (1998) offer a
collection of authors’ essays spanning from improvisation in Java (Sutton, 1998), to Latin
American dance music (Manuel, 1998), to Cantonese Opera (Chan, 1998) and more.
These are, however, investigations more into improvisation and its connection to a
culture rather than practice based methods of how to improvise in that style.
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Free-improvisation, not being directly linked to any specific stylistic formulae or
patterns, understandably has fewer published methods per se; but some can be found, and
surely there are others I have not included here. A few notable works that have definitely
influenced and inspired improvisers through the decades are Cornelius Cardew’s Scratch
Music (1970), and Karlheinz Stockhausen’s Aus den sieben Tagen (trans. From the Seven
Days) (1970). Scratch Music is a series of experiments with graphic notation that
Cardew collaborated on with more than a dozen other musicians. The graphic notations
serve as the score for the performer. From the Seven Days offers written descriptions,
130
often meditation like, for the musician to prepare his/her mindset before beginning to
create whatever music will emerge. These non-traditional scores offer the musician the
interpretive control, which are categorized by both composers as improvisation to a
manner of degree. Cardew states “Scratch Music was halfway between composing and
improvising. I saw it as a necessary curb on the combined free expression of fifty
players, and as a training ground” (1970, p. 9). He used it as a tool for promoting “free
expression.”
Music education at the college level has arguably become a training ground for
musical technicians rather than musical creative artists. Musicians over the decades have
become concerned about this trend and have created their own methods to keep the
practice of improvisation alive and not so narrowly defined. Konowitz (1973) offers his
Music Improvisation as a Classroom Method and he breaks his improvisational activities
into three phases: Phase 1- Exploratory Activities, Phase 2- Experiential Activities, and
Phase 3- Developmental Involvement. He utilizes three “Creativity Sources” throughout
the phases: voice, keyboard, and other instruments. The method is not entirely devoid of
stylistic implications, however it offers an open enough scope that activities could be
adapted toward any specific style or open style.
Some methods blend the practice of composition and improvisation. Spiegelberg
(2008) offers his hybrid curriculum, called “Comprovisation”. A balancing of
composition and improvisation activities which he focuses around what he believes to be
the three most important skills for musical creativity: temporal awareness, memory, and
application of appropriate schemata (p. 77). The fusion of activities eases the student
from the structure of a composition to the more free and nebulous improvisation.
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Because, as Spiegelberg has found, the blank canvas of improvisation is a frightening
place to begin and may in fact deter certain students from exploring improvisation
altogether (p. 79). Composition activities are therefore used as stepping-stones toward
improvisational activities.
Borgo (2005) offers a wealth of essays on all topics of improvisation in Sync or
Swarm: Improvising music in a complex age. In this work he offers his own reflections
on the art of improvisation, and examines the invaluable work, theories, and ideas of
other notable improvisers. A CD is provided offering recordings of pieces that he has
uniquely analyzed, using fractal correlation diagrams to help phenomenologically explain
the organization in a variety of improvisations. Additionally he uses tables to
chronologically guide the reader through discussion about what is happening moment-by-
moment in the given musical selection.
Since the advent of computer technologies, there has been the inevitable
integration of synthesized sound into composition and improvisation, and therefore into
educational methods. Hyperimprovisation: Computer-Interactive Sound Improvisation
(Dean, 2003) is not specific to any musical style. It is, however, an instrument specific
work - that instrument being the computer - and therefore he covers a wide scope from a
history of “interactive electronic ensembles,” to what types of instruments and gear are
available on the market, to how to use them in practice, and more. Although the use of
electronic instruments can be referential to a particular sound of music, improvisation in
this work places no strict adherence to any particular style of music. Before digging into
Hyperimprovisation, an interested student would benefit from a familiarity with sound
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synthesis programs such as MAX. It comes with web applications and an interactive
software disc.
Toop (2008) surveys the history of the European free-improvisation movement to
the present and also explores the introduction of electronic instruments. He discusses
some of the fundamental objectives behind his own digital improvisation workshops that
he has developed:
1. To encourage an awareness of musical, interpersonal and technical issues involved
in sonic improvisation.
2. To develop listening skills and cooperation.
3. To nurture confidence, sensitivity and analytical ability.
4. To [instill] professionalism.
5. To progress towards the evolution of a coherent group sound (p. 125).
From an educational perspective these are very valuable objectives. Uniquely, it does not
posit any stylistic limitations on the musicians, or mandate adherence to any particular
musical vocabulary. Notice in objectives two and three, Toop indirectly encourages
students to arrive at and create his/her own understanding.
The resources for free-improvisation are fewer and further between, but there
clearly exist many potential resources that can be used to guide a free-improvisation
curriculum. Furthermore, these resources can inspire composers and teachers to create
their own activities building a free-improvisation repertoire.
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What does it mean to be musically creative? Some studies dig into broader
questions about musical creativity, and others address how best to encourage and foster
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creativity. There also exists a growing body of quantitative research into the actual
effectiveness of such methods that are designed to encourage creativity.
A 2010 study by Huovinen et al, contrasted a dramaturgical pedagogy with a
music-theoretical approach. The dramaturgical approach is defined as a “...music
pedagogy that relies less on concepts of music theory and more on holistic images,
broader ‘architectonic’ features of improvisations and ideas of subjective expression”
(p.84). They found that the dramaturgical approach lead to an increase in playing more
rhythmically diverse improvisations, while a music-theoretical approach tended to be
more rhythmically rigid; however, the music-theoretical group played more dissonantly
interesting, or pitch informed improvisations. These participants likely strove to play
against the given chord changes (p. 91). An implication in this study is that
improvisation often does in fact come down to a matter of style, and as the authors point
out:
In the pluralistic musical atmosphere of the 21st century, further questions are
raised by an increasing openness to an ever wider range of improvisatory
traditions, each of which carries its own pedagogical implications. Even if the
typical pedagogical approaches to, say, jazz improvisation and free-improvisation
differ from one another, so do also the styles of music in question, which makes
any evaluative comparison between the respective pedagogical approaches
difficult (p. 83).
Therefore, each approach to teaching different types of improvisation would likely be
very different from one another; and therefore would rely on different foundational
understandings, and possibly different definitions of music altogether.
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Merker (2006) explores the multiple variables that exist within a single musical
performance, and finds that “musicians accordingly are expected to supply specifics from
their own resources as they go along. These resources typically include a capacious stone
of learned musical materials and principles, including previous performances [...] by
others as well as by themselves” (Merker, p. 26-27). Pressing (1998) would boil these
down to the referents (p. 52). Basically an improviser is limited by what he has
experienced, and has therefore catalogued whether through memory, notation, or
recording.
Kenny and Gellrich (2002) provide the example that “[h]owever individual one
artist’s interpretation of the jazz standard ‘Body and Soul’ may be, for example, it is still
likely to share many similarities with another artist’s version, thereby providing a
perceptual degree of commonality for listeners. The same cannot be said for each artist’s
knowledge base, which may be as unique as each musician’s experiences and
personalities” (Kenny and Gellrich, p. 118). It is therefore a familiarity with these
referents that helps us appreciate different styles, interpretations, and types of creativity:
“... the essence of what it means to understand and recognize [the histories] and
in the end to appreciate them... [and] [t]o listen to a sequence of music
appreciatively requires a background of familiarity with at least vaguely related
materials on the basis of which the structure as well as distinctions of the present
sequence are apprehended, recognized and known. Such familiarity can only be
acquired through a listening history” (Meker, p. 36).
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To draw a connection back to the jazz improvisation manuals previously discussed,
Merker’s statements here are just the reason that so many of the jazz methods stress the
importance of listening to recordings, concerts, and other musicians.
Edwin Gordon’s (1989; 1995; 1996) work offers multiple inquiries into music
acquisition and provides measurement tools for assessing a student’s musical aptitude.
His Musical Aptitude Profile (1995), the Primary, Intermediate, and Advanced Measures
of Music Audiation (1989), and the Harmonic Improvisation Readiness Record (1996)
offer music instructors objective measurement tools to assess student musical aptitude.
Gordon (1997) also offers his Music Learning Theory, which is built on audiation and
pattern sequencing to develop musical behaviors. Other quantitative measures of musical
creativity have also been constructed. Webster (1987) provides the Measure of Creative
Thinking in Music- Version II (MCTM-II). Intended to measure children from first
through third grades, it includes “a series of 10 scored tasks, divided into three parts:
exploration, application, and synthesis” (p. 266).
Tafuri (2006) investigated and reported on “Processes and Teaching Strategies in
Musical Improvisation with Children.” She writes that “…creativity requires a
confluence of six distinct but interrelated resources: intellectual abilities, knowledge,
styles of thinking, personality, motivation, and environment” (p. 135). She considers
novelty and intention in her definition of creativity, and she posits that “…novelty could
simply mean that it is something produced for the first time… [and further] a product is
creative when it is novel for it’s author, not for the society to which the subject
belongs…” additionally, “ ‘[i]ntentionally’ means that it is not produced by chance, but
it does not necessarily involve the awareness of what has been done” (p. 135). In her
136
study, Tafuri compared the resulting improvisations obtained according to three differing
degrees of instructions to the participant: 1) instructions that suggested meaning, such as
“ ‘a robot’, [or] ‘it is sunny and I am happy,’” 2) “instructions [that] refer to certain
structural aspects such as to invent a piece with a beginning, a middle, and an end,” and
3) and the loosest instruction, to invent a piece, simply providing the student with
instruments (p. 142).
Tafuri concludes that a successful structure to encourage and promote student
creativity and originality would be achieved through exploration, improvisation given
specific tasks, reflection on the outcome, chance to rework considering the prior
reflections, listening to works by others, and the chance to repeat the process. This
process looks particularly similar to Konowitz’s model and to models used by music-
therapists as we will discover in the next section. It is important to note here that Tafuri
specifically recommends the opportunities for students to arrive at novel creations on
their own regardless of if it has already been done before.
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Music therapy may be one of the most important and commonly accepted
practices in which a degree of free-improvisation is used. “Music-centered music therapy
is theoretically and philosophically taken from the proviso that clinical practice can be
informed equally by musical structures and theories as by psychological,
psychotherapeutic, or medical ones” (Lee, 2006, p.238). Improvisation thus serves as a
vehicle for letting the individual create, then identify and explain his/her own meaning in
the creation. Together with a qualified therapist they can explore the meaning of the
creation.
137
Relationship is at the heart of the music therapy process and it is the therapist’s
understanding of the creative process that defines the developing aims of the
work. Just as a psychotherapist interprets, either actively or tacitly, verbal
contributions from the client, so a music-centered music therapist interprets the
client’s musical offerings. Thus in music centered music therapy it is the music
itself from which clinical interpretations and responses are made and understood
(Lee, 239).
Lee offer’s a nine-stage method to analyze a client’s musical improvisations; it includes
steps to be taken by both the client and the therapist. A client’s improvisation is first
recorded then the nine steps below are to follow:
1) “Holistic listening” – this means multiple and focused sessions listening to the
recorded improvisation,
2) “Reactions of therapist to music as process” – this is a written narrative by the
therapist concerning the improvisation and the “therapeutic experience,”
3) “Client listening” – “stop the [recording] each time the client speaks and make
note of exactly where in the improvisation they were moved to react. Record the
conversation and make a complete transcription,”
4) “Consultant listening” – this includes sharing the recorded improvisation with
other experts, musicians, psychotherapists, etc.,
5) “Transcription into notation,”
6) “Segmentation into music components,”
7) “Verbal description” – this distills the improvisation down to the most “striking or
substantial” elements,
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8) “In-depth analysis of segments and comparison of data” – this is where musical
components of the improvisation are analyzed and compared with the verbal data, and
lastly
9) “Synthesis” (pp. 247-8).
Clearly, this is a very in-depth and human-centric model and a major contribution to
music therapy that might offer insight into ways that student creativity can be deeply
explored in an academic setting.
The sounds in music can be therapeutic, but additionally the silence can be just as
important. Sutton (2006) surveys the use of silence in music and music therapy. Making
due mention to the cultural perception of silence and how our understanding of silence
has changed since John Cage’s 4’33”, she discusses the experience of silence through an
individual’s life, in musical creations, in improvisations, and in the use of silence in
music therapy. In discussing silence in relation to life and death she remarks, “[i]n this
way, as with the reality of our sound world and the links between sound as life and
silence as death discussed above, the eternal music and its underlying silence are another
symbol for life and death. Creativity might also be seen as a paradoxical avoidance of
and connection with life and death itself” (pp. 255-256). She also reminds us that,
“[m]usical silences have potential to connect us with the deepest sense of ourselves,
whether as a totally present being or with a deep sense of loss” (p. 268). Improvisational
exploration with silence would therefore allow the participant in either a clinical or
academic setting to evaluate their own meaning in silence.
139
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Be they politically, spiritually, or somehow otherwise driven to explore free-
improvisation, practitioners have firm beliefs and positions on what it is they do and what
free-improvisation means to each individual being, to society, to the times in which we
live. Musicians clearly think about the impact of their practice. George Lewis of the
AACM (Association for the Advancement of Creative Musicians) said in an interview
with Parker (2005): “Creativity is not a special gift, but a kind of birthright” (p. 84). This
becomes a major theme across this dialogue.
Peterson (2006) investigated what the top names in improvisation think and say
about music and creativity. He chose 42 musicians with whom he conducted interviews
to understand their work, processes, and ideas. In an interview with Myra Melford, free-
improviser, and professor of improvisation and jazz at the University of California, he
asks her: “Does society today have difficulty with creativity that’s not easily
understood?” She replies:
...it is a generational thing to the extent that each generation is affected by its
economic, political, and cultural milieu. Hopefully things will turn around again.
The economy may bounce back in a few years and we may start putting more
money into the arts. I believe people want and need music and art that’s truly
stimulating and challenging and inspiring. Great art stimulates the imagination
and opens the way for all kinds of creative solutions to the problems in the world,
and it also nourishes the soul (p. 186).
A similarly rich understanding and perspective is gained through these, and the many
other inspiring voices throughout Peterson’s work.
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Much insight and knowledge of the free-improvisation movement and culture can
be found through musicians’ personal involvements with the music. Derek Bailey was an
improviser with the free-improvisation group “Joseph Holbrooke” from the years 1963-
1965 (Bailey, 1992, p. 86). In reflecting on his and his group-mates’ experiences with
free-improvisation, he writes, “[i]n fact, in all cases it was more an emotional, or
instinctive, search to find something that was logical and right, or at least appropriate, to
replace the inherited things which we found stilted, moribund and formal” (p. 87).
Regarding a process oriented approach to improvisation, one of Bailey’s group-mates,
Tony Oxley, states, “[s]ometimes there were disappointments, sometimes it was good.
But the whole thing, the two or three years process, that was the important thing to me”
(p. 89), and further, “[o]ne of the remarkable things about the... experience for me was
that I felt that I suddenly wasn’t involved with the jazz language but that I was involved
in a universal language. And I feel that now” (p. 89).
When it comes to the differences between improvisation and formal training in
music, Bailey argues that:
[o]ne reason why the standard Western instrumental training produces non-
improvisors (and it doesn’t just produce violinists, pianists, cellists, etcetera: it
produces specifically non-improvisors, musicians rendered incapable of
attempting improvisation) is that not only does it teach how to play an instrument,
it teaches that the creation of music is a separate activity from playing that
instrument. Learning how to create music is a separate study totally divorced
from playing an instrument (p. 98).
Bailey continues this argument by quoting John Stevens:
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[s]tudying formally with a teacher might be the right way to achieve certain
specific aims, but to do only that is a very distorted way of approaching a musical
instrument. It has to be realised that a person’s own investigation of an
instrument—his exploration of it—is totally valid” (Stevens, quoted in Bailey,
1992, p. 98).
This last point is a theme I found in my many interviews with professors at UNM.
Kostur (personal communication, June 29, 2012) quipped that “reinventing the wheel can
be a good thing.”
Dr. Steven Block (personal communication, July 16, 2012), department head at
the UNM department of music, related a story to me about when he was a college student
in an improvisation group. A keyboardist by training, he was trying his hands at the
saxophone. He was really excited and intrigued by all the strange, extended technique
type sounds that he was stumbling upon in his personal explorations of the instrument,
however after sharing the discoveries with his group, they more or less told him to stick
to the keyboard. However, Block agrees that the journey and process of playing the
saxophone, “discovering” those different sounds was a base of knowledge that he
personally arrived at and was then able to transfer to the other realms of his musicianship,
and even back to the keyboard.
Among countless other philosophical musings on this topic, Schafer (1965, 1969)
provides two succinct but potent publications that encourage unique ways of considering
the creation of, our understanding of, and approach to music. He focuses on our modern
lives and how they are largely informed by the human and technological sonic landscapes
that intersect our perceptions of music and sound. Resources like these are vital to a
142
modern music educator whether they be promoting improvisation, or playing in and
orchestra.
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Improvisation has been an important part of musical practice over the centuries.
It has become integrated into many musical styles and cultures to serve a variety of
functions from telling stories as in medieval Italy (McGee, 2003), to being an integral and
even foundational part of such musical styles today as jazz and rock (Prouty, 2004). Jazz
was slow in coming to be accepted by the academic world as a legitimate musical form,
but finally it gained firm ground, and is now a staple of most colleges (Mark, 1987;
Prouty, 2004). Research shows that the practice of improvisation is directly linked to an
individual’s database of patterns (Pressing, 1998) collected over the years through each
person’s unique listening histories, and it is these patterns that have the potential to be
incorporated into one’s improvisational music making. At the same time they are also
considered to be the limiting factors in that creativity (Merker, 2006; Kenny and Gellrich,
2002). Therefore one’s memory, or their ability to actually recall these referents, is a
vital component in the actual practice of improvisation (Spiegelberg, 2008).
From the educational perspective, some researchers have developed tools in order
to measure musicians’ aptitude (Gordon, 1989; 1995) or musical creativity (Webster,
1987). Foundational methods in building audiation and musical memory skills such as
the Music Learning Theory (Gordon, 1997) have had profound influence on music
education, and they are specifically pertinent to the art of improvisation as audiation, like
memory skills, is vital to improvising in specific styles.
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Free-improvisation or other non-traditional practices of improvisation emerged in
the 20th-Century (Bailey, 1992), simultaneously expanding a cultural definition of music
and creativity, and also the extra-musical practices that improvisation can serve,
specifically music-therapy (Lee, 2006; Sutton, 2006). In our modern world, with so
many sounds to negotiate day-to-day, our perception and interaction with sound has
changed and therefore our relationship with music has also (Shafer, 1969, 1965).
The outcome of any given improvisation depends upon the specific referents, or
vocabulary of a specific style (Pressing, 1998), and therefore a method for teaching
“improvisation” in its broadest sense is not one-size-fits-all (Huovinen et al., 2011);
Arguments have been made that a majority of college music programs tend to disregard
the practice of improvisation and that they ignore its contribution to being a well rounded
musician (Bailey, 1992; Block, 2012). Thus, additionally due to a product-oriented
culture, the stage is not set for widespread acceptance of free, open, or non-traditional
types of improvisation (Kratus, 2012), especially at the college level. However, the facts
remain that free-improvisation offers a wealth of benefits to musicians of all different
levels, styles, and interests (Bailey, 1992).
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Survey of Collegiate Institutions
This study, dealing with the integration of free-improvisation into the college
music curriculum, demands an investigation into what types of improvisation courses are
offered at music colleges. In order to understand this status, I have collected data by
surveying and comparing six American college music programs’ course descriptions
from the 2011-2012 academic year. Through reading the diversity of course descriptions
it was largely found that improvisation is included as either 1) the main topic of study, 2)
a substantial portion of the course content, but not the primary focus, or 3) a superficial or
unsubstantial level.
The six schools are the University of Northern Colorado (UNC), the University of
Arizona (UA), the University of New Mexico (UNM), the Eastman School of Music,
Wesleyan University, and the Herb Alpert School of Music, CalArts. The reason that
UNC, UA, and UNM were chosen is because of their representation of state schools with
relatively comprehensive music departments; meaning they all offer similar degree
options at undergraduate and graduate levels (however, UA and UNC offer Doctoral
degrees, UNM does not) in the most common courses of study, including, but not limited
to: performance (keyboard, instrumental, and voice), jazz studies, theory and
composition, string pedagogy, and music education. Eastman was chosen to represent a
conservatory music program, and Wesleyan and CalArts were chosen on
recommendation from colleagues of mine, due to both schools’ progressive inclusion of
improvisation. As one can see, the course offerings at all schools are rather similar when
145
it comes to the more traditional inclusions of improvisation, namely jazz; however the
disparity is found when it comes to courses in free-improvisation.
With this brief survey of music conservatories’ and departments’ course offerings,
one can see that improvisation exists in colleges primarily within the following three
broad categories: 1) improvisatory practices of the common practice period, 2) jazz,
world music, or popular types of improvisation, and 3) non-traditional approaches to
improvisation. This model is not intended to simply reduce a course down to fit perfectly
in one of these three categories; however, for the purposes of this paper, it is important to
recognize some functional differences between these improvisation types. An
historically, culturally, and idiomatically informed practice of improvisation is
represented in categories 1 and 2 above, and non-traditional type of improvisation not
necessarily conforming to idiomatic schemata, or cultural expectations is represented in
category 3 above.
One final note about the data collected from this survey is that as course offerings
often change from year to year, it must be considered that this is simply a snapshot in
time of what was offered at these schools, during the terms that I researched. Quite
possibly in any other given term, or at other institutions there may be other courses that
could very well serve as data for this survey.
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The six schools surveyed exhibit the least amount of instruction in common
practice period improvisation compared to what is offered by other improvisation
courses. Table 1 shows common practice period courses that include “improvisation” in
the course titles or descriptions.
146
Table 1 Course offerings in Common Practice Period Improvisation
Institution – Catalogue Year 2011-
2012: Course Titles:
Univ. of Northern Colorado
Acting for Singers, Collegium Musicum
Univ. of Arizona No courses found
Univ. of New Mexico Opera Studio
Eastman School of Music
Organ Improvisation, Graduate Organ Improvisation, Performance Practice: Baroque, Schola Cantorum (performance ensemble), Aural Musicianship I and II, Theory/Analysis/Musicianship Review, Advanced Keyboard Skills
Wesleyan Univ. Baroque and Classical Music
Herb Alpert School of Music - CalArts
Stagecraft for Singers, Figured Bass Realization, Trumpet Improvisation (offered upon faculty availability), and Winds Improvisation (offered upon faculty availability)
Note: “Improvisation,” “Improvise,” “Improvised,” “Improviser,” or “Improvisational” is included in the course title or description of all the above courses Note: For the Eastman course descriptions I was only able to access information from Spring 2011 and Fall 2012, therefore courses not from the same academic year, but the information is still representative of courses commonly offered at the institution. Table 1
As Table 1 shows, only a handful of courses mention improvisation specifically;
and while the other institutions surveyed include courses with similar titles, they do not
make specific mention of improvisation in the course title or description. More likely
than not, however, improvisation may come up in such classes as minor inclusion in the
course content, but actual improvisatory experience is not likely. For example, “Music of
the Baroque” a historical survey course found at UNM, which is not listed in Table 1
because it does not include improvisation in the description, would not provide practical
147
hands-on experience in the improvisatory techniques of the period, but again, it is
possible that improvisation might be included as a supplemental discussion.
For an example of one of these descriptions, “Opera Studio” at UNM reads
“[s]tudy of opera through performance including improvisational technique, movement,
and character development.” (UNM Music Course Descriptions, 2011) This description
clearly lists improvisation as one of the primary modes of learning about opera.
Presumably courses with such descriptions would cover improvisation to a substantial
degree.
Additionally, the cadenza is one common form of improvisation of this period
that is often encountered in repertoire. Instructors of private studio lessons would likely
provide guidance for students working on concertos that have cadenzas. However, the
improvisatory nature of cadenzas is not necessarily what it once was, due to many
publications today providing pre-written cadenzas (Rink, 2001, p. 120). Given the above
table, one might deduce that the improvisatory practices of baroque, classical, and
romantic music seems to appear mostly at Eastman (a conservatory style institution), and
not to be as integral of a part of the other surveyed college music departments.
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When one reviews the course offerings of these six music schools regarding jazz,
world music, and popular music, one finds a relatively equitable distribution of courses
with similar titles (and presumably similar content) at each school, see Table 2.
However, as one will note, there are also some unique offerings presented.
148
Table 2 Course offerings in Jazz, World Music, and Popular Music Improvisation
Institution - Catalogue year 2011-2012: Course Titles:
Univ. of Northern Colorado Advanced Jazz Studies, Small Jazz Ensembles, Jazz Improvisation (levels I, and II), Class Jazz Piano
Univ. of Arizona Jazz History, Jazz Improvisation, and Arab and Asian Music
Univ. of New Mexico Introduction to Improvisation, Jazz Improvisation (levels I, II, and III)
Eastman School of Music Jazz Theory and Improvisation (levels I and II), Jazz Theory/Improvisation for Non-Jazz majors, Jazz Performance (including workshops, ensembles, and labs), History, Analysis, and Theory of Early Jazz, Analysis/Theory of Modern Jazz, History of Jazz, Jazz Piano for Keyboard Majors (levels I and II), Practical Piano Pedagogy
Wesleyan Univ. Theory of Jazz Improvisation, Improvisation Techniques in South Indian Music, Materials and Principles of Jazz Improvisation I and II, Jazz Improvisation Performance, Improvisation in cross cultural perspective, South Indian Voice (Intermediate and Advanced)
Herb Alpert School of Music - CalArts
World Percussion Ensemble, Applied Experiments in World Music, Jazz Composition: Analysis in Improvisational Forms & Traditions (Undergraduate and Graduate), Music Improvisation Out of this World, Creative Orchestra, Undergraduate Jazz Improvisation (Class or Individual), Beginning Shakuhachi Workshop, North Indian Svar Graam – Instrumental (Beginning and Advanced), North Indian Theory
Note: “Improvisation,” “Improvise,” “Improvised,” “Improviser,” or “Improvisational” is included in the course title or description of all the above courses Note: For the Eastman course descriptions I was only able to access information from Spring 2011 and Fall 2012, therefore courses not from the same academic year, but the information is still representative of courses commonly offered at the institution. Table 2
149
Through this list, one observes that jazz, world music, and popular music are
offered in a variety of forums for musicians at beginning to advanced levels to learn
about style specific improvisational forms. Some courses do appear in the catalogues that
one would think would include improvisation yet do not mention it in the description or
title, such as “History of Rock and R&B” found at Wesleyan. Note the diversity of
World Music types of improvisation courses at Wesleyan and CalArts.
Additionally, the majority of hands-on experience with improvisation seems to
exist mostly in the jazz idiom because of its now accepted status in most music
institutions (Kostur, personal communication, June 29, 2012). Considering what exactly
college jazz improvisation instruction looks like, Prouty (2004), of Indiana State
University, points out that:
[t]he most common curricular sequences in jazz improvisation last two or four
terms, although variations do occur. Prerequisites for coursework in improvisation
generally imply some level of theoretical understanding and instrumental ability
before students are allowed to enroll, but again, these requirements display a great
deal of variance (p. 2).
As Table 2 shows, jazz improvisation courses at most institutions do present up to three
levels of instruction. Prouty goes on to observe that a broad repertoire helps unify a jazz
curriculum because it can be gradated and applied to the varied abilities of students who
come through jazz studies programs. He also points out that there are both theory-based
and practice-based approaches to improvisation (p. 3). We have seen a variety of these
theory- and practice- based methods in chapter 2.
150
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The majority of improvisation courses seen thus far appear in Table 2, and they
are jazz focused; also note that the course content seems relatively standard across
institutions. Non-traditional improvisation courses are listed here in Table 3. Notice the
course titles and total amounts of courses offered by each school.
Table 3 Course offerings in Non-traditional Improvisation
Institution - Catalogue year 2011-
2012: Course Titles:
Univ. of Northern Colorado
Choreography and Improvisation (a dance class that can be taken for a music credit), Integrated Elementary Music Education
Univ. of Arizona No courses found
Univ. of New Mexico No courses found
Eastman School of Music
Advanced Studies: Improvisation, Theory of Improvisation, Improvising Musician, Creative Music Making, Improvisation
Wesleyan Univ. Special Studies in Contemporary Music
Herb Alpert School of Music - CalArts
Circuit & Speaker, Music and Video Ensemble, New Century Players Ensemble, Grids Beats and Groups, Contemporary Performance Practice for Winds, Improvisation Ensemble, Advanced Improvisation Ensemble, Improvised Music Theater, Explorations Into the Ontology & Aesthetics of Free Improvisation, Systemic Improvisation, The Spirituality of Improvisation, Harmonic Improvisation, Creative Music Electronic Ensemble, Improvisers’ Visiting Artist’s colloquium, Survey of 20th -and 21st -Century Music, The Piano Since 1900
Note: “Improvisation,” “Improvise,” “Improvised,” “Improviser,” or “Improvisational” is included in the course title or description of all the above courses Note: For the Eastman course descriptions I was only able to access information from Spring 2011 and Fall 2012, therefore courses not from the same academic year, but the information is still representative of courses commonly offered at the institution. Table 3
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Again, here as in Tables 1 and 2, there are courses at each institution that imply
the possibility of improvisation, but since the descriptions do not include improvisation,
they are not included here. For example, at UNM, “Music Essentials for Contemporary
Dance,” more accurately described as an historical-survey course, provides an overview
of significant music and dance collaborations of the 20th century, and would likely touch
on improvisation. When I took “Studies in Twentieth Century Music,” the discourse
briefly mentioned improvisational forms of the period, yet due to it being a history
course, not a practice based course, no actual experience in improvisation was offered. I
know also through personal experience that at UNM the “Electric Ensemble” does in fact
base the whole experience on improvisation; however it is not included in the table above
because it does not state improvisation in the course description. Likewise at Wesleyan,
the “Laptop Ensemble” implies that an element of improvisation might be used in stating
“knowledge and skills in live electronic performance” (Wesleyan University, 2011).
Note in Table 3 that the course offerings at the Herb Alpert School of Music at
CalArts provide a large selection of non-traditional improvisation-focused classes. Based
on information from Tables 1, 2, and 3, CalArts offers a total of 28 improvisation
courses, 15 of which are non-traditional improvisation (Table 3). Clearly improvisation,
and non-traditional improvisation are focuses at the school. As Dr. Steven Block
(personal communication, July 16, 2012) points out, this institution is able to offer such a
diversity of courses because of it’s being a private liberal arts school that has more
authority and autonomy to offer such courses with such specialized focuses.
Through such a diverse set of course offerings, CalArts’ exhibits a wide
philosophical scope, and one can infer the mindset and values at the school. Even the
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goals and outcomes at CalArts include improvisation as a cornerstone of many of their
degree plans. For the Performer/Composer program they want their graduating students
to “...have developed systematic, individualized performance practices needed for the
realization of their own original work, including knowledge of extended techniques, and
also developed high–level comprehension and skills in a range of styles and methods for
systematic improvisation...” (Herb Alpert School of Music, 2011, p. 268). Graduates of
the Jazz Studies degree will “... have highly developed improvisation, orchestration and
arranging, and composition skills, facilitating spontaneous communication and
interaction and developing an individual voice as a composer...” (Herb Alpert School of
Music, 2011, p. 271). I am struck by the words “spontaneous communication and
interaction.” To me this is something that I’ve always tried to pursue through my own
free-explorations of sound. What this information tells us is that musicians do indeed
desire to be asking these types of questions, engaging in the dialogue, and creating and
sharing together in non-traditional improvisational outlets. However, as the survey
shows, it is most likely to exist at private institutions.
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As a part of my project of integrating free-improvisation into the college music
curriculum, I have created two free-improvisation lessons, or sets of activities, that I have
administered in two separate field studies to two different groups of participants. I have
documented each field study with video camera and with notes taken by myself after each
session. The documents prepared for each activity can be found in Appendices A and B.
I will first describe each of the participant groups, the activity we worked on, and then
discuss my observations of each session in chronological order. The activities created
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were intended to be structured just enough to encourage participation, but also free
enough to encourage musicians to make their own musical decisions.
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The participants in this field study were a combination of music students,
undergraduate and graduate, enrolled in the composition studio at UNM, and professors
in the music department. It was held during one of their weekly Composition
Colloquium classes. The activity (See Appendix A for full activity plan) includes a series
of ideas for vocal improvisations that are based on elaborations of any text; in this case
we used “The Jabberwocky” from Lewis Carroll’s (Gardner, 1960, pp. 191-198) Through
the Looking Glass. After a brief introduction and discussion of my project to the
participants, the group worked through the activities addressing each of the specific
objectives and then reflecting as a group on the process, as is indicated to do in the
activity. After the session, I took notes, and watched the video to take more notes and
make reflections. The results will be discussed in chapter 4.
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The participants in this field study were students who had been in my freshman
level Aural Theory class the two previous semesters. There were six students, all
freshmen, who chose to participate in the session; and for the session, they played a
variety of instruments, not necessarily their major instrumental or vocal focus for their
studies. Three students are guitar majors—one used his guitar, one played a djembe
which I provided, and one played a su-ling (bamboo flute) which I provided; one student
who was at that point undecided about an instrumental focus, played a melodica which I
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provided; two students who are voice majors, chose to use their voices in the activity.
So, three students participated within their main musical focus, and three students
participated on instruments new to them. This provided for an interesting and deeply
exploratory element to the activity. The activities in this session are a collection of
simple rule-based instructions that guide the musicians toward working in a group and
stretching their limits of musical choices. The full activity can be seen in Appendix B.
We worked through each of these activities as a group, taking time for discussion or
clarification as needed. The results will also be discussed in chapter 4.
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Results and Discussion of “Improvising with Composers”
The participants of this study seemed to engage deeply in each step of the activity
and seemed to follow the suggestions of the lesson to achieve dynamic improvisations, as
was hoped for. Of course with this set of participants being students of composition, it is
possible that they may have worked on similar principles of dynamic sound creations in
their own compositions and in lessons with their instructors; so granted, many of these
ideas of shaping sound were not necessarily new to them. However, the chances to
actually practice these ideas in group settings and in real time is a less frequently
occurring reality. In discussion of the session with the participants, a number of ideas
surfaced that are important and noted below.
My initial observation after watching the video-documentation was that through
my improvisation of “The Jabberwocky” text in front of the group, even before asking
anyone to do anything, I was attempting to set the environment and hopefully create a
safe space where they knew what they were to expect from the activity. After this, I
proceeded to invite everyone to read the poem aloud with me and to explore their own
voice and shaping of the stanzas. Whether or not everyone did feel safe in this activity is
indeterminable. However, due to seemingly comfortable and active participation by the
participants, I safely presumed them to have felt safe in this environment.
In the discussion before beginning a round of activity, I asked “Why
improvisation? Why is this an important part of being a musician?” One participant
stated that it “forces us to use our creative muscles in a way that producing music in other
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ways doesn’t necessarily.” Another commented “…it’s a form of collaboration that even
when you work with someone on [composing] something, you don’t get quite the
interactiveness of improvisation.” Lastly, another participant quipped that it is “on the
spot composing.”
In round one of the activity, a small group of three participants practiced the
activity in front of the whole group. The discussion that followed among the participants
offered a chance for everyone to observe and talk about what they noticed about balance,
blend, timing, energy, communication, and anything else they had experienced. I noted
that each participant was dynamically exploring a variety of dimensions of sound. On
post observation, the dimension that was least compelling to me was timing (rhythm and
tempo). One student observed how “they really shaped the voice to the word.” The
group agreed there was a dominance, or abundant energy, of one student’s voice and
character over the other two, and this influenced the balance. I believe this was a display
of the student’s unique personality; additionally this was obviously an environment
where he felt safe and comfortable to “let it go,” or to reduce his inhibitions.
I also believe that the emergence of personality is an important element in group
collaborations. Other participants who see this person’s breaking of boundaries and
inhibitions may be inspired to let go of their own inhibitions. Arguably some may not
have appreciated the abundant (possibly overwhelming for some) energy, but others may
have been intrigued and inspired to replicate this behavior. This topic begs the questions:
What boundaries do we place culturally on music and art? And what boundaries do we
individually place on music and art? Hopefully an activity like this will provide an
opportunity for individuals to address their own thresholds and tolerances, and their own
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preferences in music. Furthermore, it’s a chance for musicians to see what those
thresholds, tolerances, and preferences are for other musicians. A wrap-up discussion
after an activity like this might very closely resemble a music-therapy session, in which
the group can collectively discuss its experience through the improvisation. It can also
confront those moments perhaps where disagreement arose, and where preferences are
challenged and defended.
Regarding timing, one student observed that it tended to sink into a call and
response, “I really liked the way occasionally there was a quick echo, it was just like a
shadow after [one participant] did [his part].” This particular element of the
improvisation clearly struck a chord with that student and he was therefore able to derive
his own meaning about the collaborative creation. Another participant observed that they
“stuck to being chronological... persons two and three could have taken [material] from
the end [of the poem].” This concept was discussed as a group and everyone agreed that
in round two, participants two and three would feel free to draw from any material in the
poem at any time, not necessarily staying chronological.
Regarding communication, one person noticed that “at first they weren’t quite
sure what they wanted to do, then visually they were able to communicate, so by the
second stanza it was really neat, they found their roles and what they wanted to do.”
Through discussion about their observations of round one, four new participants were
ready to try it again for round two.
In round two, I observed that exploration of a wide variety of vocal timbres was a
new compelling element. One participant did attempt to play with the timing on a more
dynamic and intriguing level this round. Finally, in regards to our discussion of a-
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chronological drawing of material, the participants capitalized on this element and it
helped to add a rich layer to the improvisation. A strong display of humor and fun was a
big part of this improvisation, as was also the case with the first. Unfortunately, due to
time constraints, we did not have a detailed discussion about round two, but moved to the
next section of the activity.
The next segment encouraged the participants to create a list of dichotomous word
groups that can describe musical creations. The pairs they presented were “gritty and
smooth,” “dainty and oafish,” “loud and soft,” “shadowy and sharp or focused,” and
“chaotic and calm.” Through the use of a simple graph to visualize, we practiced as a
group flowing from “calm” to “chaotic” over the first few stanzas of the poem.
The discussion afterwards helped them to understand what they were doing
sonically with their voices to achieve that calmness changing to chaos. “You want the
[pitch] range of your voice [to] expand,” commented one participant. “We also did a lot
of soft to loud,” said another. “We got faster as we got more chaotic.” And another
student described how “the way you emphasize the words... if you say each syllable
differently from the way you normally would, it makes it more chaotic.” Again, on the
issue of timing, one student noticed how “there was a temporal shift where we all started
in unison, but we all ended everywhere.” They discussed how these graphs could be
structured and loosely prepared in advance to give a simple predetermined structure to an
improvisation if participants would so choose.
Lastly, on post-reflection I had hoped to have discussed ideas of “groove” and
locking into some kind of agreed upon pulse—or contrarily trying to avoid common
pulse—but we unfortunately did not have time for that discussion. However, it could be
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discussed as a group and even be experimented and explored in another round of these
activities. I believe it is an important discussion related to musician’s experience of time,
and that improvising within (or without) parameters of groove offers musicians exciting
musical territory to explore.
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Through observing this session, I have noticed that personality is an extremely
important factor in what a student brings to the improvisational setting. For example, one
of the vocalists who was always slightly shy and timid in my Aural Theory class and
during any of our one-on-one assessments (held four of five times per semester),
struggled here in this improvisation setting possibly suggesting that the student might
benefit from activities that allow them to loosen up, to let it go, and to play more freely.
However, I would argue that this student did in fact begin to loosen up through the
activities and began to seem more and more comfortable in the exploratory nature of this
activity. There is too little data here, however, to assess if repeated activities such as this
would help the student open up further and become less inhibited in overall musicianship.
Clearly, this could be studied more quantitatively, but my initial observations here do
suggest a degree of her overcoming inhibitions.
As I stated, a few participants were playing instruments new to them and they
were excited at first about this newness but were also slightly frustrated in overcoming
their “lack” of knowledge about it. I encouraged them not to worry about it. One student
on the su-ling asked “How do I know what’s a whole step, or a half step?” In this, he was
implying that he wanted me to teach him “correct” technique on the instrument and I
encouraged him to use his ears and to just explore; as he had been in my Aural Theory
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class all year long, I knew that through brief exploration time on the instrument, he would
begin to understand and make musical sense of the sounds that he could produce on the
instrument - whether technically “correct” or not. I also encouraged these students on
new instruments to “act like professionals [on the instruments], act like ‘I know what…
I’m doing.’” The purpose of this exercise was to shift to a mindset of readiness, rather
than to dwell on what they don’t know.
One of the first activities, “Sound Effects,” asks each member of the group to
mimic a given sound effect provided by one of the participants, no matter what type of
instrument they are on. I provided the first effect on my flute, which was then mimicked
by everyone. I noticed that students were hesitant to really spend ample time with their
first attempt at mimicking. One student, a singer, presented her first attempt and we all
agreed that it was not nearly as long as my performance. She tried again but still barely
increased her length. Whether this was a lack of attention to temporal detail or shyness
cannot be determined, but over the course of the activities this particular student did
begin to seem more comfortable with these activities, as she became more patient with
herself. Spiegelberg (2008) addresses this temporal awareness as a vital component of
improvisational creativity (p. 77). With practice in improvisational settings, musicians
can learn to be more sensitive to timing details out of the context of counting and
measuring.
One student presented an airy texture on the su-ling that the group was to mimic.
Students utilized their instrument’s unique qualities to mimic as best as they could. I was
particularly impressed with the student on the djembe who slowly and softly slid his
fingernails over the drumhead to mimic the airiness of the flute. Another notable success
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was when a participant presented his model of a single strummed harmonic chord on the
guitar, and everyone attempted to mimic it. The student on the su-ling obviously knew
that it would be difficult to get multiple pitches at once on the su-ling, and monophonic
instruments in general; but he adjusted the ways he played, he spent some time with it,
and in fact he was able to achieve some multi-phonics on the su-ling—remember this
student picked the instrument up for his first time barely 30 minutes before! He was
genuinely attempting to act like an expert on that instrument, and the results showed it.
The next activity “Spectra” asks the musicians to create a list of dichotomous
pairs of descriptive words as we also did in the first field study, “Improvising with
Composers.” This time, each student picked a pair from the list to present and attempted
to produce a musical gesture that flowed along that spectrum from one description to the
other. After I modeled an example of “calm” to “chaotic,” the first participant attempted
the adjectives “smooth” to “jagged.” After his first attempt he chuckled uncomfortably
and mumbled “I don’t know,” to which I replied, “I encourage you to know,” much like
how I had previously asked them to act like professionals on their instruments. The next
attempt was much more exploratory and confident, he spent more time with it, energizing
his sound from beginning to end.
The next two participants attempted “active” to “stagnant,” and “happy” to “sad”
respectively. Both spent quality time in their attempts, having patience with themselves,
letting the sound emerge and develop over time. The explicit use of major and minor
references for “happy” and “sad” was clear and was a confident and intentional choice. It
was at this point that I observed the students to really become more comfortable with the
freeness and openness of this activity
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The student on the djembe tried “bright” to “dark.” He utilized a variety of
different strokes on the drumhead to achieve different timbres. I asked the group what
they thought about his choices, and they all agreed that his choices were accurate; for a
“bright” sound he attempted more resonance and more upper harmonics, while the “dark”
sound was dampened, did not ring as long, and no harmonics were allowed to resonate.
My activity plan (Appendix B) states: “[t]his activity is not intended to achieve
any particular musical style. Therefore it is important to try not to think in terms of
conventional music theory.” Upon retrospection, I see how this statement can be
misleading, so we actually had a brief discussion about it. My intention was to make it
clear that I still want the musicians to think about all the dimensions of sound, and if
using conventional music theory terms or ideas helps them to do that, then by all means
they should use it. But if thinking of their creations in terms of conventional music
theory inhibits them, then they should attempt to stretch beyond those parameters. My
intention in making this statement was to help them know that they are not required to
incorporate notions like contrapuntal motion, or to play in a certain key, or other such
Western musical conventions.
I assert that if we can talk about the sound in different ways that don’t rely on
conventional terminology, we can begin to create our own meaning in these sonic
explorations. The discussion that the participants and I had about this issue was vital to
the process, and in future activities I would include this as an integral part of the pre- and
post-activity discussion. To demonstrate how we can still use an analytical mind but take
it out of conventional terms, I gave a vocal improvisation using the spectrum “soft” to
“hard.” In discussing it, the group observed that I utilized volume and timbre of my
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voice to create contrast between soft and hard. They simply paid attention to the
technical elements that I used to create the improvised gesture.
“The Scrambler” is an activity that asks the participants to go from a chaotic,
scrambled group sound on the director’s cue, to single sustained pitches on the next cue,
which combine across the group to create random tone clusters. On a third cue, they are
to change their tone, being forced to predict what others will do, and also be confident
with their own choice. The group really got into this activity and listened deeply to the
group sound and to how it changed from the first tone cluster to the second. For
example, upon going from the scrambled sound to the first tone, the two vocalists picked
two tones that were, technically speaking, dissonant minor seconds. But each vocalist
remained steadfast in their own pitches against all the other tones, and a magical cluster
of tones emerged. The musicians and myself sank into the sound and a balanced blend of
all the voices and instruments surfaced.
Unfortunately, technology failed us in that moment, and the camera stopped
recording unbeknownst to anyone; so, the remaining activities were not recorded, and
therefore my handwritten notes taken after the session, and my memory will have to
serve for the remaining reflections on the activities.
“The Scrambler Part Two” has the same flow as part one. However, instead of
musicians picking only single tones on the director’s signals, a brief ostinato - a repeated
pattern - is to be played. One hurdle in this activity is that a steady pulse is often
subconsciously agreed upon across the group within the first few seconds of the ostinati
interacting with one another. However, I encouraged them to try to know in advance
what kind of tempo they each of them would attempt and to remain committed to it even
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if their pulse does not “lock” with the other ostinati. If they do this, then interesting
polyrhythms can emerge. My notes about these attempts show that even after this
directive, rhythms and tempi still tended toward locking into some common agreement.
This element, however, could be practiced and developed over time. Many musicians
would agree that common agreement of pulse is not necessarily a bad thing - in fact much
music relies on it. There are times when that agreement is desired and also instances
when being steadfast and true to one’s own musical decisions is also desired. This is also
how patterns across an improvisation slowly change and interact in dynamic and
interesting ways rather than becoming stagnant and fixed.
For the sake of time we did not practice “The Kaleidoscope” but discussed the
potential benefits of the activity and how it contrasts against what emerges from “The
Scrambler” activities. Finally, as a group, we practiced a pure, unadulterated
improvisation, which I remember lasted nearly ten minutes. I simply encouraged them to
keep in mind some of the strategies and mindsets that we had worked on in the session. I
truly wish this had been recorded because there were some enchanting and beautiful
moments; but as the muse often has it, some of the best moments in music are never
captured in recording.
The improvisation activities described above could be said to have been
successful. Of course, this being a qualitative study, I can present no numerical data to
point to that success. But I can assess the impact and possible benefits of this free-
improvisation curriculum by looking at three overarching goals that have emerged from
my observations of these field study and research into improvisation. From an
educational perspective, I believe that free-improvisation benefits a person in their
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musical education through the following three objectives: Free-improvisation can 1)
reduce musical inhibitions by creating a safe space in which students can freely explore
collaborative musical experiences, 2) allow participants to construct their own knowledge
and meaning in music, thereby giving them more ownership of their education and,
finally, 3) expand the definition of music thereby broadening one’s understanding,
acceptance, and appreciation of a diversity of musical languages.
The sessions described above show some ways in which each of these goals was
achieved to some degree. One participant (at least) observably seemed to overcome some
musical inhibitions. Many insightful statements were made by participants showing that
they were developing meaning and shaping their own understandings about the musical
creations. One of my aural theory students said he felt excited to be playing without the
stylistic limitations that other musical activities place on him. He further stated that he
was very intrigued by the sounds the group was producing.
Furthermore, these three goals could be the overarching principles that guide a
free-improvisation curriculum taught by any collegiate instructor who has the drive to
work with students in such a capacity. The instructor would not necessarily be “trained”
in free-improvisation, but the most important qualification would be to have the desire to
work with students in an open-ended constructivist environment.
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I would like to further discuss these three overarching goals for my improvisation
curriculum but situate it in a larger context. Following Solis (2009), we can understand
improvisation to be performed, intentional, and extemporaneous creation of music; and
based on Kratus (2012), we can understand it not necessarily bound to a performance
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setting, but that the process of participating in improvisation is a fundamental factor. So,
my hybrid definition of free-improvisation is extemporaneous and intentional musical
creation that does not refer necessarily to any particular style of music; that can exist in
a variety of settings, including those settings shared only by those participants involved,
or in settings shared with an audience; by participants in a group or by participants
alone; and with either a process- or product- oriented objective. Given this operational
definition, I would argue free-improvisation is a forum where objectives 1, 2, and 3 can
be achieved.
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Because of the changes in learning habits through a human’s life, our individual
psychological histories, and each person’s unique technical abilities, we cannot
conveniently place every college music student into the same category—and this
obviously goes for any group setting. Although many college musicians may be in the
same age range, they do not have the same aptitudes, preferences for musical style, or
even educational objectives. Gordon (1989) has found that “[a] person’s potential to
learn music remains throughout his life what it was when he was nine years old” (p.2).
Over the years then (after this nine year mark), it is a person’s own seemingly cemented
limitations that might slow their musical participation, understanding, and success.
Inhibitions of all types and degrees likely creep in over the years, and in the severest case
an individual may be, metaphorically speaking, musically paralyzed. Yet sometimes
these are the same students enrolling as music majors!
In my years of teaching grade-school aged students and college students, I had a
number of students who I would venture to say actually fit this description of musical
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paralysis. However, it is logical to assume that musical inhibition can more likely be
broken if the student feels safe in the musical environment. So the first step is to create a
safe space where a musician can explore her own interests.
When students cannot find a musical forum in which they feel comfortable
participating, it is possible that they will give up the search. For example, ensemble
paradigms such as audition-based groups, or when there are too limited ensemble
offerings, are factors that could potentially deter musicians from participating in music
departments. Unbeknownst to oneself, a beginning college musician might just be
looking for a safe space to explore, to hone in on their interests. What ensemble is there
to join, for the hypothetical college student who doesn’t play an instrument (I’ve seen an
increased number of students who have no experience on a traditional instrument), but
who also doesn’t want to sing in a choir?1 Not much exists.
To a degree, gradated levels of ensembles help account for the wide spectrum of
student abilities —those who don’t qualify for the top group are placed in one of the
groups below. However, that structure still doesn’t account for differences in type
(which would address an individual’s preference). At most institutions, the traditional
triumvirate of band, orchestra, and choir are the typical options, and occasionally options
like guitar ensembles, early music ensembles, or world music ensembles exist; but most
likely, these too demand a certain degree of proficiency on an instrument. Still, none of
these ensembles seem like an appropriate fit for our hypothetical student. A free-
improvisation forum would allow musicians of a diversity of abilities and preferences to
1 Oftentimes undeclared music students are encouraged into choir. I agree that every musician should sing, and that singing itself is one of the most liberating musical activities, and is in fact fundamental to improvisation, but that is another argument. In this hypothetical situation the problem is simply trying to find an outlet for that student who is not yet interested in singing.
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come together and explore new sounds and new instruments in a safe environment, where
their potential is encouraged, not limited, by just the very notion that they are who they
are at their own level.
Lastly, to argue this same point, in relation to course offerings at colleges, I pose
this question: should a music department only cater to those musicians who are already
at some higher level in their training, or should it additionally offer participatory music
courses that are more inclusive of students not pursuing music degrees? The way that an
engineering student can take “Drawing 101” and walk away from the class with tangible
creations of their own, that same engineering student should be able to take a music class
and walk away from the class having produced something from their own creativity.
Of course the discussion doesn’t end there, but with all those factors aside, once a
safe space is established, musicians are in an environment where they can more freely
break their musical inhibitions. Many “non-musicians” (I don’t really believe they exist)
are intimidated to begin exploring music because of these inhibitions and because of the
complexities of music that they do not understand, and arguably many have convinced
themselves that they cannot understand. However, it would logically follow then that
once a safe space has been found, a musician can explore and muddle their way through
sound, pleasing and unpleasing as it may be; they might quickly learn how to fix those
“errors” and find instead what pleases their own ears. They might begin to stumble upon
patterns that remind them of a band that they love. Soon they will learn how to make
these “good” sounds, all the while breaking those inhibitions that made them fearful to
produce a sound in the first place. A knowledgeable instructor can provide theoretical
information to students along the way if the student so inquires.
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I think again about a few of my students in my Aural Theory class who were so
extremely inhibited in attempting anything from their own creativity; specifically the one
musician in the “Fresh(man) Sounds” field study who was somewhat tentative and shy.
However, in our “Scrambler” activity she sang what appeared to be a sour note (implied
by her facial expression) only to take it upon herself to adjust her pitch to what she found
to be a more in tune sound. In this instance she was able to reduce that innate fear of
making a mistake. She simply dove in, made a “sour” sound, then fixed it. Through this
process a musician is bravely breaking her own inhibitions and also creating her own
knowledge and meaning in music.
Breaking inhibition may also be related to therapy. The therapeutic role of music
cannot be denied, and arguably some degree of practice of music therapy should be
available to everyone. We all need that chance to let loose. I recall one of my instructors
once suggesting that college musicians on up to professional practicing musicians are in
need of music therapy as much as anyone else. Humor aside, I know many musicians
who would genuinely agree with this notion, and who would appreciate activities in
which they can create and assess their own musical improvisations with peers or guided
by instructors or facilitators.
One could grossly boil my argument down to mean that I’m asking that colleges
provide a forum for music students to “jam.” Such a critique may further ask “shouldn’t
these young musicians take it upon themselves to get together and jam?” The answer is:
not necessarily. If we consider that certain personalities provide for some people to be
very social, then we see that more opportunities to engage in meaningful dialogue about
the world around them are apprehended by this type of person and they therefore have the
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potential to learn about themselves and about others during those experiences. Due to
their extroverted personalities, these same people are more likely to be the ones who get
together with classmates or fellow musicians and play music. Great! But on the
converse side those who are less socially extroverted are less likely to get together with
other musicians for a social musical experience, and therefore all the accompanying
benefits are lost – benefits such as knowing about oneself and knowing about others. It
seems to me that we tend to forget that in fact we are all special needs learners, and this
notion is unfortunately all the more overlooked in the college classroom.
Howard Gardner (1983/2011) proposed the personal intelligences (intra- and
inter-personal), which are the abilities to discriminate one’s own feelings, or other’s
feelings respectively:
…the individual himself, desirous of more skills in the personal realm, will
seek help in effecting the proper kinds of discrimination. The recourse to therapy
in the West may certainly be seen as an effort to train one’s ability to make finer
and more appropriate discriminations within one’s realm of personal feelings, and
with respect to “reading” the signals of other individuals. (p. 268)
The opportunity to practice and perhaps strengthen the personal intelligences would
clearly be available in a free-improvisation setting. Furthermore, I believe it is the music
department’s job to model all sorts of different musical behaviors and practices, freely
improvising in group-settings being one of those fundamental behaviors. Free-
improvisation activities would thus offer safe environments for exploratory learning
where musical inhibitions can be broken.
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Some musicians may argue that free-improvisation should only be practiced by
experts, but Bailey (1992) argues otherwise:
[f]ree improvisation, in addition to being a highly skilled musical craft, is open to
use by almost anyone—beginners, children and non-musicians. The skill and
intellect required is whatever is available. It can be an activity of enormous
complexity and sophistication, or the simplest and most direct expression: a
lifetime’s study and work or a casual dilettante activity. (p. 83-4)
Free-improvisation provides opportunities for students to construct their own knowledge
and meaning in the music that they are creating and therefore in other music they go on to
experience. Campbell (2009) observes that in many cases there is in fact a degree of
“expertise on the instrument... before improvisation skills can be developed,” however
“[f]ar from the expertise of professional musicians, improvisation is nonetheless at play
in the lives of children... [t]hey improvise because they must” (p. 130). A constructivist
approach to learning is at play here. “Instructional theorists believe that concepts and
skills are best learned when the knowledge is ‘situated’ or constructed from active
experiences (Campbell, 2009, p. 133). So, the more play-time the better.
One argument might go like this: we don’t teach our children Shakespeare when
they are beginning to learn the English language, instead we begin with the sounds and
the words and we let them construct their own knowledge through simple stories and
talking. The progression continues until they are able to participate in and understand
Shakespeare. Of course, hearing Shakespeare throughout the years doesn’t hurt, but the
child would clearly not be expected to mimic or understand it. The same goes for music:
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we don’t teach our children Beethoven in the beginning, we teach the sounds and the
simple patterns of music, and we let them construct their own knowledge through simple
songs and music making. Again, hearing Beethoven along the way doesn’t hurt, and here
too they would not be expected to mimic or understand it. Thus, the progression
continues until they are able to participate in and understand Beethoven. Arguably, a
large amount of music instruction does in fact adhere to this progression rather
effectively, however I would argue that oftentimes there are some missing vital elements
in this process: depth and consistency.
How much time is afforded to a child, or beginning college musician for that
matter, to explore deeply within the sounds of a menagerie of instruments? Sadly,
because of the limited amount of time music teachers are afforded to have with their
classes in our current system, this exploratory stage is profoundly overlooked, and they
dive directly into patterns. To be clear—I am not arguing that patterns are an
inappropriate way to begin. I am arguing that the exploration of sound and improvising
with sound is a step that can only add to any musician’s depth of knowledge, and their
appreciation of and understanding of a diversity of musical styles. Allowing beginning
musicians to create their own patterns that they can proceed to incorporate and situate in
their knowledge base is one way of providing more depth. The understanding they obtain
can then become more meaningful.
Karpinski (2000) describes the diversity of aural skills programs at universities
and explores different methodologies. Most college music theory programs do afford
students the chance to begin with basic courses geared around simple pattern recognition
and repetition exercises; and successive semesters rapidly progress to the more complex
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Western music theory principles, as it should since they are in college where high level
work is the expectation. However, some students who struggle in this first level are
required to work through it again in order to move on. I argue that these students need to
be provided an alternate forum in which to explore, to participate in a musical
community, and to make mistakes then fix them, in a natural, constructivist approach to
learning music. This would likely afford them the chance to work at their own pace and
build their own knowledge and meaning in music. Shuffling students through a
curriculum before they are truly prepared does not offer them the depth of understanding
that they need. I heartily acknowledge that the ideal situation would be one in which
student is enrolled in a free-improvisation course in conjunction with traditional theory
courses; I am by no means saying that it should replace any undergraduate requisite
courses.
The other element I argue which could be further promoted is consistency. It is
simplest to make an analogy to methods of jazz improvisation pedagogy. In this model,
the student must listen to a lot of music, and play a lot of music to apprehend the patterns.
I agree to the effectiveness of this model. However, if we look at how much clock-time
students spend playing their instruments during their school week, arguably a large
percentage, if not a majority of that playing is alone in the practice room, drilling for their
lesson and perhaps repertoire for a jazz or orchestra rehearsal for example. They are
consistently playing, but consistently playing alone. In the analogy of learning a
language, this is like going to a room alone and talking to oneself for hours on end! As
humorous as this idea is, it is also slightly frightening. Why not provide for some of that
exploratory time to be in actual musical dialogue with other musicians? Perhaps there is
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less of a tangible outcome in the end, and therefore it would be difficult to justify such a
model. Remember however that a product-oriented objective is not essential to free-
improvisation, the process is just as important.
Models with a deep and intricate process, like those of Lee (2006) and Tafuri
(2006) discussed in the literature review, could be adopted for promoting depth and
consistency. Tafuri specifically lists the following as her recommendations for an
improvisational exercise progression:
-explorational activity of sound (voice, instruments, objects, electronic
production);
-improvisational activity with specific tasks;
-analysis of process and results, made individually and collectively, in order to
acquire more awareness;
-assessment of compliance with the instructions and of the internal coherence
necessary for the meaningfulness of the action/product;
-work on different technical-formal properties, encouraging decisions that can
lead to transformations and changes;
-knowledge of different decisions made by other authors (listening to repertoire)
-increasing awareness in subsequent improvisations. (p. 152)
Lee’s (2006) music-therapy steps may also serve in improvisation activities with music
students because it would offer the student the chance to freely create, reflect on their
own work, or a group’s work (through the use of recordings), and discuss with peers and
professionals (in Lee’s case, therapists; in a classroom case, the instructor). Through this
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process, there would be valuable understandings for students to obtain, allowing each
music student to make unique connections on their own.
Adults are quick to applaud children as they stumble on something new and novel
during musical creation; likewise freshmen in college innocently experience those same
“Eureka!” moments. Kostur (personal communication, June 29, 2012) also agrees that
for developing musicians, “reinventing the wheel can be a good thing” because it
provides a deeply meaningful connection with knowledge that simply reading it from
someone else’s experience does not provide. In the act of creation, something a student
improvises may sound or even feel new to them, and that experience of originality is a
valid step in their cognitive process. Of course, other listeners with more expansive
listening histories may think otherwise, downplaying the importance of the discovery
arguing that “its been done before.” However, most teacher’s would strive to create an
environment where negative judgment and criticism are suspended for the sake of
learning; the student is praised for their discovery, rather than be told its already been
discovered.
It may appear as though such a free-improvisation curriculum is geared only
towards very beginners, but I hope my argument is clear that it does not strictly cater to
beginners. As Bailey wrote of free-improvisation’s accessibility by all levels of students
(1992, pp. 83-84), what better place to have extremely proficient musicians serving as
models side-by-side with beginners? The advanced players could simultaneously be
enriching their own musical understanding, whether from a performance standpoint,
educational, or philosophical.
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In this discussion, one certainly needs to address the question: why free-
improvisation versus other types of improvisation? The answer lies in a number of
considerations. As I stated above, a forum in which a musician is provided with a safe
place to explore creatively, to create their own understanding and meaning in the sounds
they would produce, are crucial components to a constructivist approach to learning. We
must further keep in mind one overarching question: what is music? For once we limit
our definition of music, do we not instantly put limitations on the creative potential? We
simply cannot ignore some of the potent boundary-expanding trends of 20th-century
music.
One example of expanding definitions is the incorporation of silence. In traditional
ensembles, only the rare gem of an orchestra or band director will provide the chance to
explore silence amidst the turbulent schedule rehearsing for an upcoming concert. So,
what forum do college musicians have to more deeply explore silence as a musical
element? Composition lessons are the first forum, of course, to come to mind. Yet a
practice based, improvisational group setting suggests another rich and possibly more
active setting for the exploration of silence, or other non-traditional techniques. At
UNM, the Composition Colloquim held weekly for composition students is one such
place where explorations like this do happen. But only a small percentage of music
students enroll in composition class or lessons during their college career. Surely I’m not
the first to propose that all music students be required to enroll in at least a semester of
composition lessons or some similar forum.
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Conduction® is one emergent practice of ensemble improvisation developed by
Lawrence D. ‘Butch’ Morris in the early 1980s (Conduction®, n.d.). The practice
involves a series of hand signals and movements as cues and directions given by the
director to the ensemble. These directions inform the musical choices made by the
orchestra; and additionally, in this practice, the performers strive to avoid any actual
stylistic reference (Deane, personal communication, March 31, 2012). I attended a
Conduction® workshop given by Dino J.A. Deane and the Out of Context Orchestra and
a concert by the group. The energy was thrilling, the sounds were like nothing I’ve ever
experienced, and the interaction between all the musicians was electric. This and many
other fresh innovations are helping to expand not only a definition of music, but also how
we interact with each other to create music.
Prouty (2004) and countless others discuss how as music educators, our very
definition of music informs the way we teach (p. 11). We must therefore be careful what
we say about what is or is not music – for this is shaky ground and often stirs a very
heated debate. Through the Music Education as Aesthetic Education (MEAE) movement
of the 70’s and 80’s, and through particularly notable contributions by Bennet Reimer,
Charles Leonhard, and Susan Langer, among many others, music’s role in education
claimed a new stance and became linked to aesthetic experience (Elliot, 1995, p. 28-29).
Over the decades, countless educators have been influenced by the MEAE model.
However, holes in the philosophy began to be exposed by a number of authors, and as
David Elliot (1995) points out:
[t]he aesthetic concept of music education is reductionistic in two basic senses. As
I have explained, it begins with the implausible claim that music is a collection of
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objects. It then proceeds to narrow our musical understandings and experiences
even further by insisting that listeners always listen aesthetically – with exclusive
attention to the formal designs of musical works (in the nineteenth-century sense).
(p. 33)
As we have seen with jazz education however, it is no surprise that this is exactly how
training proceeds. Students learn to listen to the structural components of the music,
which gives jazz its unique identity. There is no harm in this, as long as it is explained
that this structure is not the only structure but is one of many possible musically creative
traditions. And more importantly that structure and design are human constructs. This is
a basic consideration, but how often is this dialogue actually encouraged? When do we
give our music students the chance to deeply grapple with this concept? If we only
discuss the designs and the how-to and we don’t situate them in the larger picture, then
the younger, immature music student can quickly develop false notions about the nature
of music. Elliot points to the dangers of such a narrow scope and continues “[i]t seems
clear enough from this discussion that teaching music students to ‘perceive and react’
aesthetically amounts to inculcating the ethnocentric ideology of a bygone age” (p. 33).
Specifically, Elliot is arguing against “perceiving” and “reacting” in a limited scope that
seems to have emerged from the aesthetic education model.
Clearly he is not against musicians perceiving and reacting altogether. What he is
opposed to is MEAE’s reliance on these “ethnocentric ideologies” as being the only
things a musician or listener should perceive and react to. This dangerous mindset almost
entirely ignores the most important contributions of 20th century musicians, such as the
profound integration of silence, deep listening, or other experimental practices. This is
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exactly why it is easy to attack non-traditional types of improvisation and not provide
them a place in a music curriculum.
Musical style is of course partly what makes music such a diverse field of study;
and as I’ve discussed, style is linked to being able to reproduce appropriate patterns and
schemata. Prouty (2004) relates a personal experience calling into question just what
“style” is taught in a jazz curricula:
... I vividly recall a comment that one of my teachers gave me after a class
performance, that I did not sound like “university jazz” (it was meant a
compliment), which left me to wonder, if a university jazz musician is not supposed
to sound like university jazz, what should they sound like? The implication is that
there is more to jazz than what is in the curriculum. I certainly would not argue this
point, as it is true of any field. (p.12)
It cannot be denied that patterns and schemata are what differentiate styles of music
(Pressing, 1998, p. 52); and clearly students do need to learn these patterns. Prouty here
suggests, however, that there is more to learn than patterns. And there is more to all of
the music that music students experience during their college careers. Music needs to be
experienced away from the printed page as often as possible, and free-improvisation
activities would directly offer this opportunity. This is exactly why the dialogue about
improvisation such as that exemplified by CalArts (Table 3) is so refreshing and exciting.
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To review, the overarching goals of my free-improvisation activities are: 1) to
reduce musical inhibitions by creating a safe space to explore musical creations, 2) to
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allow participants to construct their own knowledge and meaning in music, thereby
giving them more ownership of their education and, finally, 3) to expand personal and
cultural definitions of music thereby broadening one’s understanding, acceptance, and
appreciation of a diversity of musical languages. If we assess what is currently
happening in music colleges, and look at these objectives, we can see that the creation of
free-improvisation ensembles, classes, or other such forums for discussion is a valid need
and valuable niche in music departments. As evidenced by some course offerings at a
few institutions (Tables 1, 2, and 3), we can see that non-traditional types of
improvisation are becoming a very popular and emergent realm of musical study;
however, these same types of courses are substantially lacking at state schools and even
other private music schools.
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On a personal note, I feel very fortunate to have attended the University of New
Mexico at a time when the John Donald Robb Composers’ Symposium was in its 39th,
40th, and 41st years—the last three years under the artistic direction of Dr. Christopher
Shultis. A wealth of rich experiences was packed into each symposium. Many exciting
guests, concerts, and discussions at each of these symposia offered amazingly mind-
opening experiences. I heard the exciting live improvisations by Noam Sivan and a
student group during the 2010 symposium. At the 2012 symposium, I was in the
audience of a presentation by Julio Estrada on the use of graphic notation in
improvisatory settings with chamber music groups in 2012; and the performances and
workshops presented by Dino J.A. Deane and his Out of Context Orchestra also provided
an example of the rich potential for free-improvisation. These experiences gave me
confidence that this dialogue does happen, and it happens here in New Mexico. In fact,
there are many people interested in joining these discussions, as evidenced by all the
people who come out of the woodworks during this annual event. Begbie (2000)
proposes:
All this suggests that the customary picture of improvisation as a discrete and
relatively frivolous activity on the fringes of music-making might need to be
replaced by one which accords it a more serious and central place. Instead of
regarding thoroughly notated and planned music as the norm and improvisation as
an unfortunate epiphenomenon or even aberration, it might be wiser to recall the
pervasiveness of improvisation and ask whether it might be able to reveal
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fundamental aspects of musical creativity easily forgotten in traditions bound
predominantly to extensive notation and rehearsal. (p. 182)
It additionally impresses me that so many improvisation-minded composers have
presented over the years at the UNM Composers’ Symposium: Cecil Taylor, George
Lewis, and more recently Noam Sivan, Julio Estrada, Myra Melford, and Dino J.A.
Deane to name a few.
Perhaps it is the lack of physical materials (scores, notations) on which a musician
can rely that scares some musicians from improvising. Prouty (2004) points out that a
repertory is one of the unifying elements for the jazz education curriculum (p.3). The
term repertory would include both the vocabulary of musical patterns, and the huge
library of recordings and scores that exist in the jazz world. On the contrasting side, there
is far less contemporary, a-stylistic improvisation “repertoire” per se, and it is more
obscure. Also, due to its nature, it is ephemeral, rapidly evolving, and is not rooted in a
deep culture like jazz is. Perhaps building a repertoire is what composers like Cornelius
Cardew (1972) with his Scratch Music, or Karlheinz Stockhausen (1970) with Aus den
sieben Tagen were attempting by creating their non-traditional scores. Additionally,
innovations such as Conduction® which help define the ways musicians interact during a
free-improvisation, are necessary bridges toward a wider acceptance of free-
improvisation.
Regardless of these artists intentions, I propose that the following elements may
also help in promoting wider acceptance of free-improvisation: 1) repertoire- existing in a
variety of forms such as curricula or recordings, 2) a forum for dialogue about this
practice to a wider population – this function could be served through college courses
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and/or workshops, and 3) a call for more literature discussing theory and practice of free-
improvisation.
Lastly, we should consider our possible future. If more free-improvisation courses
were to actually emerge at colleges, then who would be instructing such courses? An
instructor would not necessarily have to be an expert improviser him/herself; he would
simply need to have that desire to engage in an exploratory setting with students. It is
clear that not just anyone can do it, for obviously they would need to be a trained
musician with an educational background meeting the institutional requirements and be
in accordance with departmental policy and philosophy. To reiterate, however, the most
qualifying characteristic would be to have the desire to go exploring with their class.
My favorite part about free-improvisation is that beginning point... that point when
you or someone simply... starts! People join in, things lead to things, and suddenly
through each person’s own creative contribution, all involved are making the universe
expand in original and fascinating directions—or at least that’s what it feels like! So, I
leave you with this last quip from my favorite jam band, Phish: “You decide what it
contains, how long it goes, but this remains: the only rule is it begins. Happy, happy, oh
my friend!” (Anastasio & Marshall, 2009).
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Appendix A……………………………………………………………………………186 Appendix B…………………………………………………………………………….189
&
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2CC%*HAE&2& Vocal Exploration! Objective: -To explore the seemingly infinite sounds our voices can make. -To collaborate in a small ensemble -To create a dynamic and interesting improvisation from beginning to end. -To explore unique parameters of sound using flow charts and graphic notation to guide our improvisations. Materials: Texts of any kind, paper, markers, chalkboard Method: In this activity, we will read an agreed upon text. It could be anything from poetry, to a text book, to a short story, to a legal document. We will use that text to explore our voices and create improvised speech pieces in small groups. Part 1: 2.Begin by reading the text from beginning to end aloud as a group. 3.Circle the words, or groups of words, that make you most excited to read. Take
turns sharing some of your circled words, but speak them in an interesting way! Maybe, low like a growl, short and broken like a bird chirping, or long and slow like slow motion.
4.Break into groups of 3 for small ensemble work with the text. In each group
there are three roles. 1. This person will be reading the poem from beginning to end with no
repeated words or phrases. Before improvising, find moments in the text that seem to be natural pauses. Choose some of these moments to take long pauses during which the texture will change to just person 2 and 3.
2. This person will be elaborating on the first personʼs speech with groups of words of his/her own choice, in a variety of ways. These word groups can be repeated as often as desired.
3. And the last person will elaborate with singular words of his/her own choice and repeat these as often as desired, in a variety of ways.
5.Go ahead and try it! Listen deeply to each other. Take musical risks. Be
dynamic. No matter which role you are, attempt to make the words as alive, dynamic, and engaging as possible.
6.Now that youʼve tried it once, consider the following questions
1. What did you notice about balance?
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2. What did you notice about blend? 3. What did you notice about timing? 4. What did you notice about energy? 5. What did you notice about communication? 6. What else did you notice? 7. What can you do to enhance these above items? Try it again working to
focus on these items. ____________________ Part two: 7.Now we are going to use some graphs to help us think about how we might
shape our individual lines during the improvisation. 1. Discuss descriptive words that we can use to define our speech. Write
these up on the board. What are the opposites of these words. Talk about and practice the spectrum that connects these pairs. For example: Chaotic flows along a spectrum to calm. The point is to perform in a way that YOU think makes it chaotic or calm or in between. You may focus on one element of sound, for example, volume to help you achieve the difference between the two, but through practicing it you may find that you are actually using other elements of sound... speed, timbre, attack, etc.
2. Pick a spectrum and draw a graph that describes how you may move along the spectrum of that descriptor. Practice it.
3. And now the options of shaping the piece using the graphs becomes exciting!
i.We could use one graph that all three performers follow... ii.We could make different graphs with different parameters for each
performer... iii.We could make a single graph with a number of parameters on
it... iv.What else can you think of?
8.Repeat the activity until you feel like youʼre achieving a dynamic improvisation!
9.Lastly, through this process of creating a multilayered, and dynamic speech
piece, we can use any of the tools weʼve used to create any number of differently shaped improvisations. Explore your own imagination for how this activity may be done in a other ways! Alternative suggestions:
1. Incorporate a mixing board, and effects board, with microphones for the
speakers. Musicians can explore the combination of their own manipulation of the speech sounds, with electronic manipulation.
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2. Perform it as a solo! Incorporate any combination of the three ensemble roles.
3. Perform it as a larger ensemble. 4. Take a random text that youʼve never seen, and jump right in! Skip step
one of “reading the text from beginning to end aloud as a group.” This forces you to think creatively and quickly.
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Open Improvisation Activities: Objective: In this set of activities we will explore sound and music through basic descriptions of music and sound, in non-musical technical language, striving only to use musical technical language when it helps a student’s understanding. These descriptions will guide us toward creating live improvisations and toward having tools for composition. We will work together in large and small ensemble settings to produce live improvisations. We will explore the use of flow charts to guide our improvisational and compositional process Intention and Ground Rules: This activity is not intended to achieve any particular musical style. Therefore it is important to try not to think in terms of conventional music theory. Some ideas follow to get you in the mindset of this activity. This list is by no means complete! -Don’t be afraid to sound like crap! -Then don’t be afraid to fix it! -Push your own limits with what you think you can do,
and with what you can accept as musically creative.
-Begin to learn what you like in a sound and what you don’t like in a sound. -Understand that we all have different backgrounds and therefore different ideas to contribute. -Each sound you make will be your choice, so make it fit. -Don’t be afraid of silence! -It is each of our responsibilities to listen deeply. Lastly, it is our job to create an environment of mutual respect. Others might not be playing what you would play if you were on that instrument, but guess what... you’re not on that instrument! So fit with their sound in a way that you believe works - make it work.
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Materials: An ensemble of at least 3 musicians, but it could theoretically work for a group of any larger size. Multiple timbres are desired, but also not necessary. Instruments of all kinds, human voice, or other non-traditional sound makers can and should be used. Method: Activity 1: Sound Effects Go around the circle and each musician will produce a “sound effect” on his/her instrument. Everyone else attempts to imitate it as best they can, on their own instruments. Offer discussion about extended techniques that may help players achieve the desired results. Do as many rounds as desired. Activity 2: Spectra Create a list of adjectives and their polar opposites that can describe music and sound. Discuss how there is a spectrum that exists between the two ends of each descriptor set. Practice some of them on your instruments. Are there instruments that achieve a certain spectrum more effectively than others? Practice drawing some flow charts that can be used to direct your playing within the chosen spectrum. Some adjectives to get the conversation going are... calm and chaotic, smooth and rough... Activity 3: The scrambler part 1 On the director’s cue (1)- held in the air with their finger, everyone will play chaotically. Then on the next cue (2), everyone is to pick one tone to play, a long sustained tone. If you like your tone stay there, if you want to change it, then change on the next cue (3). The cycle can be repeated in this order. Or alternatively, once the two tone clusters have been established, the director can go back and forth between signal (2) and (3) multiple times so that the group can get a feeling for the change of mood between the two chords. Lastly, the director can cut everyone off for silence. Remember to listen to the contrast between these 4 stages: (1)- chaos,
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(2)-first tone cluster, (3)-second tone cluster, and (4)-silence. Discuss the ways that musical decisions were made when moving from one tone cluster to another. Is there an element of tension and release? What else might drive the musicians to “want” to change their tones? Do they end up resolving to something they were expecting? Activity 4: The scrambler part 2 This activity has the same steps as The scrambler part 1, however for signals (2) and (3), instead of picking a single tone, play some more complex ostinato (repeated pattern) of your own choice. Be steadfast and stick with your pitches, rhythms, and tempo, don’t slip into the tempo of others. In that steadfastness, listen to the interaction that emerges between each of the patterns. Perhaps when signal (3) arrives you will choose to mimic or assimilate into another tempo that you hear, as a choice to move from tension to relaxation. But be aware that the person whose tempo you may choose to model, might switch theirs! Activity 5: The kaleidoscope This is one more valuable variation on the scrambler. Repeat the similar steps to the scrambler, however after signal (2) is given to the ensemble, the director picks one or a small number of musicians to change their tone’s or ostinato on signal (3). The signal should be clearly given only to the intended musicians. This way, when they are chosen to change they are given the chance to make extremely informed decisions about how they want it to change without the variable of others changing at the same time. Each person will get the chance to change their tone or pattern, and the process could be repeated ad infinitum! Improvisation session: 1. Dive right into a group improvisation! Utilize your understanding of sound effects, spectrums, and tonal or pattern decision making to inform the way you play, the way you react to others. 2. After the first improvisation, discuss how you could make a group plan using the diagrams as described in introductory activity 2.
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3. Try varying sizes of ensembles, or try an open improvisation in which musicians are encouraged to participate when they are so compelled or inspired; and likewise, sit out when they are so compelled. Remember, an integral part of sound is silence.
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