Appendix C: Introduction to Improvising

As Much As Possible From As Little As Possible: AMAPFALAP

Creating can begin with the simplest of origins. In fact, everyday conversation involves improvisation (i.e., thinking and responding simultaneously). The following process is intended to develop the singing/playing and listening abilities of students and provide a springboard to improvisation. A beginner musician can use this structure for sound explorations.

One Note Singing and Playing Activities

Choose a note that feels comfortable for the singing voice or is easy to play on a selected instrument. Ideally, the instrument should be one that is capable of pitch although a non-pitched instrument could also be used. The challenge to do AMAPFALAP will just be that much greater. A one- note melody (i.e., a combination of pitch and rhythm) may seem very limiting and not very exciting, and yet it contains many expressive possibilities (e.g., loud to soft, short and long).

The process of exploring and experimenting with the following elements and concepts of music provides a focus and structure within which to create and increase aural perception and awareness:

• dynamics (soft/loud)
• rhythm and duration (long/short)
• timbre (distinctive quality of sound)
• texture (rough/smooth)
• feeling and intention.

Dynamics

In this activity students become familiar with the musical terms often used to designate dynamic levels in musical examples.

• Explore the range of dynamic gradations possible with the note.
• very, very soft ( pianississimo, ppp )
• very soft ( pianissimo, pp )
• soft ( piano, p )
• medium soft ( mezzo piano, mp )
• medium loud ( mezzo forte, mf )
• loud ( forte, f )
• very loud ( fortissimo, ff )
• very, very loud ( fortississimo, fff )
• Explore the idea of dynamic accents with the note.

Rhythm and Duration

• Sing/play the note several times experimenting with a variety of durations (e.g., long/short sounds/silences).
• Choose a variation and repeat it until a pattern is developed to sing/play by memory.
• Create other rhythmic patterns and combine and mix with the original pattern.

Timbre

• Experiment with language and notice the difference in the colours of different words when singing the note.
• Sing the note and alternate between different vowel sounds (e.g., ay, ee, I, oh, oo).
• Play the note on an instrument and create as many colours as possible.
• Play the note on a variety of instruments (sound colour will vary with the choice of instrument).
• Create a tone colour pattern (e.g., sing same note on vowel “ay”; same note played on recorder/saxophone/guitar; same note sung on vowel “ee”) and repeat it; combine it with your duration pattern.

Texture

• Sing the note while buzzing (e.g., zzzzz).
• If a piano is available, place an object against the strings and play the note.
• Sing the note while covering and uncovering your mouth with your hand.
• Play the note while covering and uncovering the sound bell/hole of your instrument with your hand or object.
• If a string instrument is available (e.g., guitar, violin), experiment with plucking and/or bowing the note.
• Play the note on a brass or wind instrument using a variety of tone images (e.g., harsh, smooth, dark, light, rich, thin).
• Experiment with the use of vibrato or slightly alter the pitch of the note as a way to vary the note.
• Compare and contrast the use of vibrato in different styles/cultures (e.g., opera versus jazz; rock versus country western; First Nations traditional singing versus vocal music of India ).

Feeling and Intention

• Imagine the quality of feeling you wish to convey with the note (e.g., harshness, pleasantness)
• Alternate between qualities and combine contrasting qualities.
• Experiment with dynamics, duration, timbre, and texture to produce the feeling or mood you wish to convey with the one-note pattern.
• Record a one-note improvisation and create another improvisation to accompany the first.
• Improvise with another class member.

A culminating activity might be arranged to mix and match any or all of the above categories to produce solo one-note creations that can be performed for family members or classmates. In addition, this AMAPFALAP process can be expanded to include two, three, four, or more notes. Be patient and do not rush to add another note until students feel comfortable with the one-note limitation.

Adapted from The Listening Book: Discovering your own music, by W.A. Mathieu. 1991.