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Improvisation: From Classroom to Performance

Improvisation: From Classroom to Performance. Jennifer Kamradt. Ways that can help translate from classroom to performance. Having an “outline” or road map Set up your classroom with a foundation towards performance.

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Improvisation: From Classroom to Performance

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  1. Improvisation: From Classroom to Performance Jennifer Kamradt

  2. Ways that can help translate from classroom to performance • Having an “outline” or road map • Set up your classroom with a foundation towards performance. • Develop Fundamentals and ideas in class that students can draw upon in a performance.

  3. “Building Guy” Goals • Students using Rhythmic and/or Melodic Improvisation based on their prior knowledge • Use of Unison Playing to Build Confidence and Success in Improvisation.

  4. Body Percussion C C C C C C C C C P P P P Sn

  5. Body Percussion Transfer to Pitched E E E E E E E E E A A A A Sn

  6. Body Percussion Transfer to Instruments

  7. Bridge with Speech Little Building Guy Little Building Guy Little Little Building Guy (Huh)

  8. Bridge Transferred to Notation

  9. What is improvisation? • Beginning Stages of Melodic Development • Students use Musical Concepts whether you can name them or not. • Your own ideas created on the spot

  10. Musical Concepts Ideas for Improvisation • Come up with a motive you like and repeat (Ostinato) • Pick a favorite note. Example: E-F,E-A,E-B, etc • Change dynamics • Rolls on a single note or Tremalo on different notes • Grace Notes • Passing Tones • Single Handed, Double Handed, or Alternated • High vs. Low Ranges • Rhythmic and Melodic development (Sequence) • Dissonance and Resolution • Stepwise Motion or Leaps • Rests! • Syncopation

  11. Body Percussion B Section Oh Yeah Build- ing Lot of Things

  12. Body Percussion B Section Oh Yeah Sn Sn Build- ing Lot of Things C C C P P

  13. Body Percussion Transfer to Instruments B Section E A E A E A B E B E E A

  14. B Section Accompaniment

  15. Transition: Refocus back to A!

  16. The Road Map A Section Bridge B Section: Improvisation Transition A Section Bridge

  17. Arirang Goals • Incorporating the use of Recorder Improvisation over a Harmonic Accompaniment. • Incorporating Movement Improvisation in conjunction with Improvised Recorder Melodies. • Create rhythmic drum improvisation.

  18. Harmonic Bass Xylophone Part

  19. Harmonic Bass Xylophone Part G G G E G G G A G G G G E G G G A

  20. Harmonic Bass Xylophone Part G D G D G D E B G D G D G D A E G D G D G D G D E B G D G D G D A E

  21. Harmonic Bass Xylophone Part G D G G D G G D G A E A G D G G D G G D G E B E G D G G D G G D G G D G A E A G D G G D G G D G E B E

  22. Harmonic Bass Xylophone Part

  23. Harmonic Progression Xylo CBB Drums Grapes GrapesApples Grapes GrapesGrapes Apples Grapes

  24. Recorder Melody

  25. Bars-Drums-Recorders • Introduction: Accompaniment • A Section • Accompaniment + Recorders (Song) • Drum (Beat) • Transition • Drum (Improvisation) + Accompaniment • B Section • Recorder (Improvised GABDE) + Accompaniment • Drum (Beat) • Transition • A Section • Coda: Accompaniment

  26. Movement • Introduction: Freeze • A Section • Movement (Groups Created) • Transition • Movement (Individual Pathways) • B Section • Movement (Improvised based on Recorder) • Transition • A Section • Coda: Freeze

  27. Pathways • Line • Curve • ZigZag • Diagonal • Dotted Line • Shapes • Combinations

  28. Road Map • Introduction: Accompaniment Only 2 Times • A Section • Accompaniment + Recorders (Song) • Drum (Beat) • Movement (Groups Created) • Transition • Drum (Improvisation) + Accompaniment • Movement (Individual Pathways) • B Section • Recorder(Improvised GABDE) + Accompaniment • Drum (Beat) • Movement (Improvised based on Recorder) • Transition • A Section • Coda: Accompaniment Only 2 Times

  29. Speech

  30. Success: How To • Build up a Foundation of Musical Knowledge • Rhythm • Melodic Concepts • Beat • Ostinato • Provide a structured improvisation settings before non-structured • Different Scales • Set number of measures/beats • Speech driven rhythm • Harmonic Accompaniment. Ostinatos, Chords, Beat, etc… • Groups before Individual. Safety in Numbers!

  31. Success: How Too Part 2 • Allow student independence and exploration without limits or time frames: Free Improvisation or “Freestyle” • Development of melodic and rhythmic ideas • Comfortable improvising on any instrument. • Allow students to try new things and give it names. • Discuss the good and bad of melodic development. What did you like and why? • Educate the Audience

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