Improvisation
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Hi all,
I’m planning for next year and am having a difficult time fitting in the improvisation standard. How do you do improvisation in your classroom? We’re not planning on doing any jazz music next year, so it does not need to be limited to scat singing, which would be out of place anyway.
Thanks!
First of all, you should never leave out Jazz music all together. April is Jazz Appreciation Month; that’s when I cover it. In General Music, I have most grade levels studying Classical Music through March, so adding Jazz creates opportunities for compare and contrast.
To your question: Have the students listen to a piece of music – any random melody (or one with which they are already familiar). Have them sing the melody on solfege or with lyrics or syllables (doo, dah). Ask the kids how they would make changes to that melody. Off the top of their heads, what would they change to make it their own melody. Explain that they could drastically change it – this is THEIR version!! Have the melody on a projector or written on the board. Write the students’ responses onto the score on the board. Have all understand what was done and how the original melody became that. Then all sing it again with the changes; have the responding student direct if they’re comfortable. Explain that when musicians improvise on a melody they do all of this on the spot in their heads.
Students must feel comfortable with their environment and the material / instrument (voice, glock, Orff instrument) before they’ll improvise. Explain to the class that no matter what happens in performances / improvising or what it sounds like they are to clap politely for their classmate and be supportive. If their classmates laugh they’ll never try it again. Improvising is risky for kids, yet once they get used to it, they’ll love it.
Play them some of the masters of scat and improv – Louie Armstrong, Ella Fitzgerald and such. Get them to hear the material, not the age of the individuals and the performances (not exactly recorded digitally).
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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