COMPOSITION AND IMPROVISATION

DEVELOPING
IMPROV
IN MUSICCLASSES
GENERAL
is an importantmusicalskillforstudentsto developand
Musicalimprovisation
caneasilybe includedin generalmusicclassroomactivities.

I S I,.

<M~ ~~usicalcreativity in
the general music
classroom is an
important and val-
ued means of
expression, and general music special-
ists usually plan creative activities
within their lessons as often as possi-
ble. Musical creativitycan be demon-
strated through composition and
improvisation. Composition refers to
the act of creatingnew music with the
intent of revisingthe createdmusic to
suit the composer'sintentions. Impro-
visation, on the other hand, is the
spontaneous creation of music with-
out the intent to revise. It is this dif-
ferencein "intentto revise"that marks
the fundamental distinction between
composing and improvising. In other
words, when a student improvises,he
or she knows that the "first time
counts"and that the improvisedmusi-
cal performance exists only for the
time it is created. ofinstrumental
gainscontrol
Asa student technique, toa cueorfreely
heorshecanrespond improvise
It has been suggested that a child's without reference.
a musical
orientation to improvisation changes
with age, and John Kratus contends
that the orientation of the improviser demonstratesa fundamentaldifference The first level, exploration,describes
in the approach to musical creativity. the period of time during which the
Kratus'sseven-stagetheory of improvi- young child seemingly makes random
TimothyS. Brophyis assistantprofessorof sational development begins with sounds during the improvisatoryexpe-
musiceducation
attheUniversity in
of Florida three levels that are often used to rience. During the next developmental
Gainesville. describe children'simprovised music.1 phase, the process-orientedimproviser

34 MUSIC EDUCATORS JOURNAL

Downloaded from mej.sagepub.com at Kungl Tekniska Hogskolan / Royal Institute of Technology on March 10, 2015
creates music for the joy of creating, result, or product. This article will dent is asked to create musical varia-
oblivious to constraintsor opinions of present some suggestions and ideas for tions to a known melody or rhythm.
a listening audience. At the next level, general music teachers to use when The final level, origination, is reached
the product-orientedimproviserunder- planning and implementing improvi- when the child is asked to generate a
stands that what is being improvisedis sation experiencesin the classroom. new, never-before-heard melody or
also being heard and judged by an rhythm without prompting. When
audience and so strives to improvise a Step1:Accommodating
Skill children become comfortable at this
musical work that will be well received andExperience level, they are on their way to becom-
by that audience. Research indicates When planning improvisation ing adept improvisers.
that children's improvised melodies lessons for children, the teacher must The musical experienceof the child
may become significantly more rhyth- first determine as closely as possible also facilitates the improvisation
mically and structurally organized the performance levels and musical process.As children gain experiencein
around age nine.2 generative skill (ability to generate the music classroomand in their daily
new musical ideas) levels of the chil- lives, they build a body of musical ref-
dren, as well as their level of musical erents that serve as the building blocks
experience. These three factors have a for improvisation. These musical ref-
direct impact on the ease with which erents are gained through listening
the childrenwill be able to improvise. and performing.Another way to think
The process and comfort level of of musical referentsis that they are the
Theprocess andcomfort improvising are facilitated by the cognitive storehouse of a child's musi-
child'sproficiencywith the instrument cal experience, and from this store-
levelof improvising
are being used. Most children find house come the raw materials for a
unpitched percussion instruments eas- child's musical improvisation. It fol-
facilitatedbythechilds ier to play than melodic instruments lows, then, that as children get older
proficiencywiththe and can achieve a level of skill that and gain experience, their storehouse
facilitates improvisation rather quick- of musical referentsgrows.
instrument beingused. ly. Specifically, this skill level influ-
ences the range, tempo, and expressiv-
ity of the improvised melodies. The
teacher should keep in mind that the
development of this type of skill takes
time when planning melodic improvi-
sation experiences. Improvisingin response
Older elementary students, with A child's level of skill in generating to musicalcuesalso
sufficient experience, may reach the new musical ideas is of prime impor-
fourth level of Kratus'ssequence. In tance when improvising. While most includesgenerating
this level, the fluid stage, the improvis- young children are adept at sponta-
er achievesenough technical skill with neous production of music (particular- consequentmusical
phrasesto antecedent
the improvising instrument to render ly in the area of singing songs), the
playing it automatic. The fifth stage, music teacher can follow a general
structural improvisation, is reached sequence that will help encourageand
when the improviser is able to apply develop this natural ability. This
phrasesgiven by the
structuraltechniques, such as develop- sequence is also helpful for introduc- teacher,oftencalled
questionand answer.
ment and variation, to the improvisa- ing improvisation to older students
tions.3 Evidence of the beginning of who may be new to this type of musi-
the fifth stage has been found in the cal expression. There are four basic
improvisations of some twelve-year- levels in the musical-generative-skill
olds.4 The sixth level is stylisticimpro- sequence:imitation, consequence,vari-
visation, wherein the improviser has ation, and origination. At the imita-
masteredone or more improvisational tion level, the teacher provides experi-
styles. The seventh level, rarely ences that encourage direct imitation Step2: Planning
Medium,
is
reached, personal improvisation. At of spoken or sung phrases and rhyth- Context,andMaterials
this level, the improviser transcends mic or melodic patterns. When the Once the teacherhas determinedas
current styles and createsa new, origi- teacherfeels that the students are adept closely as possible the skill level and
nal improvisationalstyle.5 at imitation, then he or she can begin musical experienceof the students, the
Improvisation is a complex behav- development of the consequence level next step in planning is to determine
ior, and this behavior is influenced by by encouragingstudents to createcon- the medium, context,and materialsof
factors that affect not only the process sequent phrases to given antecedent the lesson. Decisions regarding these
of improvisingbut also the improvised phrases.At the variationlevel, the stu- choices will be significantlyinfluenced

JULY 2001 35
by the determinations of Step 1. and provide the musical structure The improvisationalmaterials of a
Whereas the considerationsmade dur- within which the improvisation is lesson are the startingpoint, or stimu-
ing Step 1 of the planning process formed. There are three primary lus, for the improvisation experience.
facilitate the process of improvising, improvisationalcontexts: (a) response The choice of materialsin any lesson is
the outcomes (or products) of the to word or musical cues, (b) free of paramountimportance,and materi-
improvisationlesson are shaped by the improvisation within a given musical als should be designed or selected to
considerationsmade during Step 2. form, and (c) free improvisationwith- introduce new concepts and skills as
The musical medium and context out referenceto a given musical form. well as strengthen previous learning.
used during a musical improvisation When a lesson involves improvising The materialsused in an improvisation
lesson determine, to a large extent, the musical responses to word or musical lesson must not only be engaging for
product generated by the experience cues, the improviseris expected to cre- the child but also the inspiration for
and must be defined clearly. The ate a rhythm or melody as a result of the spontaneous generation of new
improvisational medium of a lesson reading or hearing a specific word or music. Each new experiencegained in
providesthe vehicle through which the phrase;this could also be a responseto the music classroom becomes another
improvisation will be expressed; in a specific sound, motive, or section of musical referentfor the child to draw
music, the media choices are (a) instru- a piece. Improvising in response to upon when asked to improvise.Mate-
ments, (b) the voice, (c) movement, or musical cues also includes generating rials include (but are not limited to)
(d) a combination of these. If the consequent musical phrases to songs, games, stories,poems, and short
medium chosen is instrumental or antecedent phrases given by the rhythmsor melodies.
vocal, the teacherneeds to determineif teacher, often called "question and The two basic steps for planning
rhythmic or melodic improvisation(or answer." Free improvisation within a improvisation lessons are summarized
both) is to be the focus of the lesson. given musical form can be accom- in figure 1. First, teachersshould con-
While it is acknowledgedthat improvi- plished through a class rondo, theme sider the factors that influence the
sation in elementaryschool can involve and variations,the twelve-barblues, or improvisationprocess-skills and expe-
movement, the suggestions given in any other simple, sectional form that rience. Bearingthese in mind facilitates
this article will focus primarily on offers an opportunity to improvise. the second step in the planning
instrumentaland vocal improvisation. Free improvisation without reference process-determining the medium,
The improvisational context of a to a given musical form includes (but context and materials of the lesson.
lesson refers to the planned musical is not limited to) improvised musical The students' level of skill and experi-
conditions that make the improvisa- backgrounds for stories, poems, or ence will guide the teacher'schoice of
tion both meaningful and necessary other nonmusicalstimuli. these product-shapingfactors.

through
Kindergarten 3
Grade
Any teacherof primary-schoolchil-
dren knows that one of the joys of this
Figure1. Suggestedstepsfordeveloping lessons
improvisation age group is their natural spontaneity
Whenplanning,firstconsiderthe factorsthatfacilitatethe improvisation with music. Children from ages five to
process-skills
andexperience.
Thesewill helpdeterminethe choicesof product-shaping factors: eight are engaged by playful activities
medium,context,andmaterials. and generallyexpressthemselvesmusi-
cally and artistically without reserva-
Planning Step 1: Planning Step 2: tion. Improvisation is an important
Skills and Experience Medium, Context, and Materials part of the young child's life, and the
music specialist who knows and
Levelof performance
skill Medium understands this aspect of the nature
* instrumental of primary-school children will find
Levelof musicalgenerative
skill * vocal
* melodic many opportunities to develop impro-
(suggested
sequencefor development) visation in the classroom.
* imitation * rhythmic
* consequence While young children tend to be
* variation Context naturallyspontaneous in their musical
* origination * respondingto wordor musicalcues creativity, the products of their cre-
* freeimprovisation
withina given ative endeavors may seem unformed
MusicalExperience musicalform and unstructured by conventional
* body of "musicalreferents"-the * freeimprovisation
withoutrefer- standards. Keith Swanwick and June
cognitivestorehouseof musical enceto a givenmusicalform Tillman found through a study of
experiences more than seven hundred children's
Materials
compositions that, once technical con-
* songs,games,stories,andpoems trol of an instrument was gained, chil-
* shortrhythmsandmelodies
dren during these ages created musical
works that were "unique, personal

36 MUSIC EDUCATORS JOURNAL

musical expressions."6 Kratus
describes the improvisations of chil-
dren at this age as possessing "some Figure2. Exampleof singingat the imitation
andconsequence
micro-structuresbut no macro-struc- levelsof generativemusicalskill
ture."7In studying children'smelodic
improvisations,I found that while the Imitation Level:
rhythmic and structuralcharacteristics
of improvised melodies by children I
Teacher: Hel - lo boys and girls
I I
aged six to eight evidenced little orga-
nization, the improvisations were s m s s m
developing rapidly toward conven-
tional musical schemes.8
Short songs, stories, games, and Children: Hel - lo
I I n I
(teacher's name)
poems are excellent sources for begin- s m s s m
ning improvisation experiences for
primary-school children. By starting Consequence (Answer) Level:
with language, then moving to body
percussion (snapping, clapping, pat- nn
Teacher: How are you to - day?
I
ting the knees, and stamping), and s s m I s m
then to instruments, teachers can
shape important improvisationexperi-
ences that will lay the groundworkfor
future development.
nI ni
Solo Child: I'mO.K. but my bro-theris home sick to - day
1 I n I
In the early grades, imitation and
smm sms s s I s s m
consequence are key experiences in
developing improvisation. One sim-
ple way to begin is to start with a
singing greeting, as shown in figure
2. In this exercise, the teacher simply gameat the imitationlevelwithnonsense
Figure3. "Riddle-Ree"
sings, "Hello, boys and girls," to the speechandbodypercussionexamples
children on appropriatepitches (such
as sol and mi), and then the children
imitate the melody on the same
pitches in response. This can contin-
ue, with the teacher singing, "How n n n I I nn
are you?" and the children imitating, Teacher: Rid-die Rid-die Rid-die Ree Do what I do af- ter me
going on until the class is settled and
ready to start the day's lesson. When Nonsense speech, changing pitch:
children become familiar with this
process, the teacher can then ask the
children to sing answers to sung deet
blub yah
questions, entering the consequence blee yah noe doot
phase of developing musical genera- Teacher: blah deet
tive skills. At this stage, the teacher's doot
"How are you?" question (antecedent
phrase) is directed toward individual
students, who respond by creating an
44In I IfI i I I I
original melody and rhythm that
serves as a consequent musical (ChildrenEcho)
phrase. These consequent phrases
may or may not be balanced (i.e., the Body Percussion:
example in figure 2 shows a six-beat
response to a four-beat question). Teacher: 4 . J rn
Young children love to play this 4 clap
_ _ _
_~7.
game, and it provides an easy and patsch
engaging vehicle for beginning
improvisation experiences. (ChildrenEcho)
The "Riddle-Ree"game is another
way to provide sequenced experience

JULY 2001 37
from imitation to consequenceand can play games with their names, and an opmentallyappropriatefor this level of
be playedwith a varietyof media. The improvisation lesson at the variation musicalgenerativeskill.
teacher begins the game by saying in level can develop from this interest.
tempo: "Riddle, riddle, riddle, ree, do First, have each child play the rhythm
what I do after me." At the imitative of his or her name on an unpitched
level of play, the teacherthen proceeds instrument by asking him or her to
to providephrasesfor imitation. Young "let the instrument say your name."
childrenlove to play with nonsenselan- Then ask each child to create a "new
guage and enjoy imitating nonsense name" for himself or herself on the Olderchildren sensethat
words, as illustratedin figure3. Rhyth- instrument by "changing the rhythm
mic patternsusing body percussioncan of the name so that the class might not theircreativeeffortswill
also be the medium for imitated phras- recognize it." This becomes a game of resultin an audience-
es. As children gain control of instru- musical "hide and seek," where the
mental technique and the concept of children "hide"the original rhythm or
pleasingproduct,as they
imitation, unpitched percussion and melody within a variation. For upper
melodic instruments are engaging primarystudents, this is also great fun areverysensitiveto the
media for imitation. "Riddle Ree" on melodic instruments. For example,
becomes a consequence-level game when children are working with do, re, judgments of others.
when the teacherchanges the opening mi, and sol on melodic percussion
line to "Riddle, riddle, riddle ree, will instruments(such as those that arepart
you pleaseanswerme?"Using the same of the Orff instrumentarium)and can
media in the same sequence,the child's play a simple folk melody like "LetUs
generative skills are now being called Chase the Squirrel,"they are capable
upon to create consequent phrases, as of creating variations of the tune by To encourage improvisational
illustratedin figure4. being directed to play the melody so response to word cues, another
The power of words and literature that it is complete but "disguised" favorite game is "pretend," an
can also serve as a springboard for from a listener.9These beginning vari- approach used by John Flohr in a
improvisation.Young children love to ation exercisesare engaging and devel- study of improvisation in young chil-
dren.10 He asked his participants to
play as if they were glad, mad, scared,
or sad. In what Flohr called program-
4. "Riddle-Ree"
Figure levelwith
gameattheconsequence matic improvisation, children were
nonsense asked to improvise sounds like rain, a
speechandbodypercussion
examples lion, lightning, a train, and a cat.
Children enjoy creatingsounds to rep-
Nonsense speech, changingpitch: resent these words, and this can easily
Teadcl . Rid-dieRid-dbRid-dbRee, WIlyoupleasean-srr me? develop into more extended improvi-
sation activities. For example, children
blub yah can improvise an entire class piece
Blee yah noe doot
Teacher blah deet based on one of the day's activities by
deet finding instruments and sounds to
doot
represent the words that describe the
4 I I [ I I activity.Stories that the children know
often contain many sound words that
invite improvisation.11However, care
blee noe pkunkplunk
Possible b b blah
blah must be taken to select words that the
nyet g ding dong
Response: POW children can recognize and for which
-I I n I n n i they possess a mental image. The
teacher needs to know the students
well enough (and have provided
BodyPercussion: enough instructional experience) to
create a meaningful list of words and
Teacher: 4 clap )J) -1
select appropriatestories, while being
4 sensitive to any words that may cause
patsch -4--) xqr; students to be uncomfortable.

Possible 4 cl
Response:4 a
4 through
Grades 6
It has been shown that children
patsch
around the age of nine may become

38 MUSIC EDUCATORS JOURNAL

more product-oriented in their
melodic improvisations, creating childanda
melodies that are more formallystruc-
bya seven-year-old
Figure5. Melodicimprovisations
tured in phrases and that present child
ten-year-old
rhythms that occur in patterns.12 student
createdby a seven-year-old
Improvisation
Swanwick and Tillman found a simi-
lar shift toward musical "convention"
in the musical characteristicsof chil-
dren's compositions, with the
3
increased appearance of sequential r3r- 3 3 --

patterns, repetition of phrases, and A ,rr-r n r3 r3i

phrase structuresin the works of chil-
dren aged nine to twelve.13
student
createdby a ten-year-old
Improvisation

#w;J k r IJcrJ ' i' r j > I

Whileupper-elementary
childrenmayconsider Xv- I I J U J- i J >I
,

themselves
tooold to sing
simplemusicalgreetings,is creating a musical piece that is the higher levels of the sequence.
unique, personal, and generatedwith- While the specific techniques that
improvisationalgreetings out concern for musical convention. were provided for the primary child
that are more This shift in creativeintention also can be used with upper-elementary
affects the upper-elementary child's children, care must be taken to con-
challengingcan be used attitude toward creative engagement. sider the differences between these
The need to conform to acceptable two age groups. For example, the
with successin fourth norms influences the child's reaction "Riddle-Ree" game would be too
andfifth grades. to the materials and approaches that childish for the older children, but
teachersuse. Older children sense that the question-and-answer format
their creative efforts will result in an remains a very good way to continue
audience-pleasingproduct, as they are developing generativeskills. For older
very sensitive to the judgments of oth- students, it is often best to simply refer
ers. Whereas the primary child will to the exerciseas the "antecedent/con-
createfor the mere joy of creating, the sequent phrase" game, wherein the
As children grow and develop older child will improvise music only teacher and class use body percussion
musically, their musical creations are if it occurs within a well-defined and and rhythmic or melodic instruments.
influenced not only by their skill and structured event. Improvisation must The teacher can begin this game by
musical knowledge, but also by their be embedded within meaningful con- presenting a few antecedent phrases
perception of what is "good." This texts, such as instrumental rondos, for class response. Then, each student
marks a fundamental change in cre- story arrangements,or within specific in the class can create an antecedent
ative purpose, and research suggests harmonic sequences that are both phrase for class response. This pro-
that children in middle to late child- challengingand appealing. vides not only good practice in gener-
hood are coming to terms with the Older students will be capable of ating new rhythms and melodies, but
groups that judge their creative (and will enjoy) improvising at both also an opportunity to make formal
works-parents, peers, and teachers.14 the variation and origination level of musical distinctions between
Figure 5 presents the C-pentatonic the musical-generative-skillsequence. antecedent and consequent phrases.
alto xylophone improvisations of a By fourth grade, many students have The "variation game" is another
seven-year-oldand a ten-year-old.It is acquired a body of musical referents way to have older students createvari-
readily apparent that the ten-year-old that they can perform individually, ations. The structure of this game is
is very interested in conforming to either on instruments or with the simple. First, a familiar but simple
audience expectations-the phrases voice. If they have been given ade- tune, such as "Hot Cross Buns"or "All
are balanced, and the tonality is sup- quate opportunities to develop their through the Night," is reviewedby the
ported by the closure on the tonic musical generative skills in the lower class on the recorder,using the pitches
pitch of C-while the seven-year-old grades, they will easily continue with B, A, and G. Then the teacherinstructs

JULY 2001 39
 the students to create (improvise) a
variationon the tune, using the notes
Figure6. Sampleinstrumental "Weather Rondo" improvisation they know to create a melody that
lesson sounds differentbut is musicallyrelat-
ed to the original. The teacher then
Grade:Recommended forfourthgraderswith improvisation experienceor novicefifth sets up a simple accompaniment,
graders either with the piano, Autoharp, bass
Objective:To havestudentsimprovisemelodicallywithinthe givenmusicalformof the xylophone,guitar,or other accompani-
rondo ment instrument,and allows each stu-
dent in the cass to improvisehis or her
National Standards:Standard3(d): Improviseshort songs and, instrumentalpieces,
variation. Older children find this
usinga varietyof soundsources
game to be the right mix of challenge
Materials:This lessonassumesthat thereare melodicpercussioninstrumentsfor each and comfort, especiallyif they arevery
child,or eachpairof children,suchas glockenspiels, xylophones,and metallophones comfortable with the melody being
with mallets,pre-setin the C-pentatonicscale;otherpossibilitiesincluderecorders used as the stimulusfor the variations.
andkeyboards.
One reliablecontext for free impro-
EnablingExperiences:(a) experiencewith generativemusicalskillsat leastthroughthe visationwithin a given musicalform is
variationlevel;(b) familiarity with rondoform;(c) adequateperformance skillon the the "class rondo." The rondo form
chosenmelodicinstrumentto accurately playwithin a pentatonic scale. alternatesa recurringsection (A) with
Process: differingsections (B, C, D, etc.). The
A section is a melody or rhythmthat is
1. Explainto the classthattheywill be improvising a rondo.Thenaskthe childrento dis- the class; the
cussthe weatherand to describeit in a few words.Basedon the weatherdescription, performed together by
differing sections are solo improvisa-
createa two-measure phrasethatexpressesthe weather,suchas "verynice, verynice,
nicetoday."Havethechildrenstandandecho-speak thewordsin 4/4 meteras follows: tions by class members for a specified
number of measures.The form of the
Ve-ry nice ve-ry nice nice to - day class rondo becomes ABACADAEA,
etc., until everyone has a turn as a
4
4
-I7 J jJ L,l IJ J 11
, soloist or the work is completed. To
balance the form, all sections should
Afterrepeatingthisphrase,havethe childrenspeakthe wordsas theyclapthe rhythm. be the same numberof measuresas the
Repeatthisprocedure. Then,clapthe rhythmonly,with the classechoingonce more, A section of the rondo. Setting up this
andrepeat. type of context requiresteachingthe A
2. Next, instructthe classto clapthe rhythmfourtimesin a row.Thenpatsch(patin the section to the class.The A section may
lap)the rhythmfourtimesand repeatthisprocedure.Finally,havethe childrenstamp be a given or student-generated
the rhythm four times in place and repeat the procedure if necessaryto solidify the melody, rhythm, or song (one particu-
rhythm. larlyappropriatesong for an A section
3. Assumingthat the classhas melodicpercussioninstruments,ask the studentsto sit is "Solo's Here for Everyone").15A-
down at their instruments and to look at the bars. Have them read aloud the letter section melodies can include harmony
names of the barswhich make the C-pentatonic scale:c4-d4-e4-g4-a4-c5-d5-e5-g5-a5. changes if the level of class skill per-
4. Next, instructthe classto pickup theirmalletsanddemonstrate the properwayto hold mits. The A section can also be a class
them. The students should then click the "verynice" rhythm four times using the mal- improvisation, with the entire class
let handles. improvising melodically to a given
5. Ask each member of the class to make up their "best"melody on their instrument to rhythmin a pentatonicscale.
the "verynice" rhythm, using any of the bars on the instrument and alternatingthe A sample instrumental rondo
mallets. ("Alternatingmallets"can be also be describedas (a) "changingthe mallets for improvisation lesson is presented in
eachnote you play,"or (b) "switchingthe malletsbackand forthfor eachnote you
figure 6. In this example, a rhythm is
play.") developed by the class based on the
6. Studentscanthenreviewor be taughttheword"improvise," usingthe definition"mak- weather for the day, and this rhythm
ing up your own music as you go along."Afterthis, instructstudentsto play the servesas the basisfor a classimprovisa-
rhythmfourtimesonceagain,improvising theirbestmelody. tion in the C-pentatonic scale for the
7. Havewrittenon the boardthe rondoform:ABACADA,etc. Explainthe orderof the A section. The remaining sections of
rondosectionsand thatthe classwill performthe A sectionall togetherand that the the rondo are improvised solos, each
remainingsectionswill be improvised solos.Havethe studentsthenperformthe com-
eight measuresin length to match the
plete rondo. Two students with good beat competency can be assigned to play a bro-
ken bordun, c3-g3 on quarternotes, as an accompanimenton bass instruments(if they length of the A section. Teachersmay
are available).Otherwise, a simple steady beat accompaniment on an unpitched per-
also lead their classesto createan origi-
cussion instrument is fine. Or play an accompanimenton the piano, guitar, or Auto- nal melody for the A section, and this
harp if it is in tune with the instruments. Before the students begin, remind them to may be preferablewhen the children
perform their best and most beautifulcreativemelodies. are performing on a melodic instru-
ment for which an entire scale is not

40 MUSIC EDUCATORS JOURNAL

yet mastered or for which group
improvisationon differentpitches may withupperelementary
not produce a manageablesound. For Figure7. Apoemforfreeimprovisation
example, if a cass knows only three or
students
four notes on the recorder,then the A
WateFiaU
section might best be designedas a sin-
gle-line melody that the class plays in
0
unison ratherthan a freely improvised Q
00
000 O 0
? 00000
0 0
0 oooooo o0.o o0 o 9
group of melodies on the known pitch- Whatstarts as a tckle soon beca))es a stream
es. This decision must be made by the 0
0 o
teacherpriorto the lesson. 0 0 ? 0000
O
oO0000
While upper-elementary children faster and faster
Thatsoon becomes a nivermoving
may consider themselves too old to ?0
sing simple musical greetings,improvi- 0 . 000 o0 0
sational greetings that are more chal- fallingin a hugespray
Untilit spillsoveranddownward,
lenging can be used with success in
fourth and fifth grades.Singing "hello" 0
to older classesin the diatonic scaleand 0000 00
requestinganswersin the diatonic scale Creatingrainbowsf and mists
is a good way to continue the develop- 00O 0 ? o0 ?
O 0 O0
ment of improvisation in the upper
Thensettling, slowing,calming,and quieting
grades. If your curriculum includes
teachingthe twelve-barblues, the older Waterfall!/vv
children can also engage in improvisa- (T. Brophy,1997)
tional singing within this form. This
type of improvisationexperience,how- Key: (all instruments played freely)
ever, requires adequate preparation
with respect to knowing the form and Q) = pitchesG, A, andlowE on sopranorecorder
'
chord changes, as well as a solid body
of"blues"referents. = large drum,playedwithmallets = windchimes
~
Older students will also enjoy free
improvisation without reference to = triangle 0cPo = melodicpercussion, in C-pentatonic
specific musical forms. This can be
n/e ^A /vos^ all instruments,fadingout
accomplished by improvising musical = suspended cymbal

backgroundsto literature,particularly
favorite stories or poetry (see footnote
11). Figure 7 shows an example of a
short poem that gives older children a
ers performonly when their part of the Notes
chance to freelyimproviseboth melod- poem is read. All of the instruments 1. John Kratus,"Growingwith Impro-
slowly fade away at the end of the visation,"MusicEducators Journal78, no. 4
ically and rhythmically. Children
should first read the poem aloud as an poem. This type of poem can also be (1991): 35-40; John Kratus, "Orientation
drawn on a large piece of frieze paper and Intentionality as Components of Cre-
entire class, adding expression and
and used as a score for the children to in Music
ative MusicalActivity, Perspectives
tempo changeswhere they feel they are follow. Education2 (1991): 4-8; and John Kratus,
necessary.One or two solo readerscan "A Developmental Approach to Teaching
then be selected from volunteers.Then
the instrumentparts are added, in this Closing Musical Improvisation," International
These are but a few of the improvi- JournalofMusicEducation26 (1996):27-38.
suggested order: recordersimprovising sational techniques that can be 2. Timothy S. Brophy, "The Melodic
melodicallyon A, high C, and high D;
melodic percussion improvising in F- employed to start students on their Improvisations of Children,AgesSix through
way to becoming confident, indepen- Twelve: A Developmental Perspective"
pentatonic; and the unpitched percus- dent improvising musicians. With
sion improvising rhythmically as fol- (Ph.D. diss., Universityof Kentucky,1998),
lows: the drum (after the word good planning and efficient strategies, Abstracts
abstractin Dissertation International
all music teachers can develop the 59 (09) (1999):3386A.
"spray"),the wind chimes (after "rain-
bows"),the triangle(after"mists"),and improvisationalskills of their students. 3. Kratus,"Growingwith Improvisation";
the suspended cymbal (after the word Opportunities for improvisation are and Kratus,"ADevelopmentalApproach."
available in nearly every lesson. Our
"quieting").The playersof the melodic
challenge is to recognize, define, and
percussion instruments improvise structure these opportunities so that
throughout the entire reading of the our students attain their highest levels
poem, but the other instrument play- of skills and knowledge.
continuedonpage 53

JULY 2001 41
Developing inSound
Thinking Composing and improvising are
processes by which we can put into
Improvisation continuedfrompage 46
practice today's emphasis on student-
centered learning, creative and criti-
cal thinking, problem solving, work-
continuedfiom page 41
are organized onto mobile computer ing cooperatively with others, and
carts, they can be moved to where new forms of student assessment.
4. Brophy,"TheMelodic Improvisations they are needed and serve a whole Technology can be our practical ally
of Children." class of students working in small in making these demanding expecta-
5. Kratus, "Growing with Improvisa- groups. In either case, organizationof tions a reality for larger numbers of
tion"; and Kratus, "A Developmental materials,clear guide sheets, and rou- students. Technology can change not
Approach." tine procedures are needed to keep only the "how"of teaching and learn-
6. Keith Swanwick and June Tillman, students focused and help them use ing but also the "why," "what," and
"The Sequenceof MusicalDevelopment:A their time efficiently. "where"of music learning. It can be
Study of Children'sComposition,"British Over time, teachers can work out the catalyst to expand our current
Journalof MusicEducation3, no. 3 (1986): the routines and organization of stu- music programs into more compre-
305-39. dents, schedules, and materials. This hensive, imaginative experiences that
7. Kratus,"ADevelopmentalApproach," requires experimentation and ultimately develop active, indepen-
32. patience, and it can take severalyears dent music creators, listeners, and
8. Brophy,"TheMelodicImprovisations to discover patterns that work best in performers.
of Children." a particular school setting. However,
9. This can be found in PeterErdei,ed., this dedication is worth the effort Notes
150 AmericanFolk Songsto Sing, Read,and because it provides an environment 1. Paul Lehman, "National Assessment
Play (New York:Boosey& Hawkes, 1974). for learning that is similar to the sci- of Arts Education: A First Look," Music
10. John W. Flohr,"MusicalImprovisa- ence lab, in which discovery and cre- Educators Journal85, no. 4 (anuary 1999):
tion Behaviorof Young Children"(Ph.D. ativity can flourish. Teacherswho are 34-37.
of Illinois at 2. Bennett Reimer, A Philosophy of
diss., University just getting started would do well to
Urbana-Champaign, 1979), abstract in select one approach and stay with it Music Education, 2nd ed. (Englewood
DissertationAbstractsInternational40 (10) for some time to build confidence. Cliffs, NJ: PrenticeHall, 1989), 71.
(1980), A5355. Also, teachers should be careful to 3. This term is used by Tom Rudolph,
11. Some stories that can be used for avoid the either/or technology trap TeachingMusic with Technology(Chicago:
this activity are the following:Bill Martin, that might lead to abandoning tradi- GIA Publications,1996).
Jr. and John Archambault,Chicka-Chicka tional approaches. 4. See Brian Moore, "MusicalThinking
BoomBoom(New York:Simon & Schuster, Technology resourcesand time for Processes,"Dimensionsof Musical Thinking,
1989); Verna Aardema,Bringingthe Rain music instruction are in short supply ed. Eunice Boardman (Reston, VA:
to KapitiPlain (New York:Dial Books for in most schools. We can, though, MENC, 1989), 40.
Young Readers, 1981); and Tomie de develop partnerships with parents, 5. For explanationsof how to use MIDI
Paola, Jamie O'Rourkeand the Big Potato librarians, and classroom teachers to softwarewithout MIDI keyboards,see Sam
(New York:Putnam Publishers,1992). To extend the opportunities that stu- Reese, "Music Learning in Your School
get startedwith upperelementarystudents, dents have to compose and improvise Computer Lab," Music EducatorsJournal
try Margaret Mahy, SeventeenKings and with software. Growing numbers of 85, no. 3 (November 1998): 31-36.
Forty-Two Elephants (New York: Dial homes have personal computers. We 6. The author wishes to thank music
Books for Young Readers,1987), or any of can encourage parents to buy music educatorsAdam Davis, Andrew Farnham,
Aesop'sfables. David Fodor, Maud Hickey, Brian Kabat,
creativity software and provide sim-
12. Brophy, "The Melodic Improvisa- Bill Miller, TamaraNardi, and PeterWeb-
ple directions to help them guide
tions of Children." their children in activities that direct- ster for suggestingmany of these ideas.
13. Swanwick and Tillman, "The ly support classroom projects. We 7. See JackieWiggins, "TeacherControl
Sequence of Musical Development," can ask school and public librarians and Creativity," Music EducatorsJournal
305-339. to provide music software and fur- 85, no. 7 (March 1999): 30-35, 44.
14. See Mihalyi Csikszentmihalyi, nish them with printed instructions 8. David Beckstead, "Telecommunica-
"Society, Culture, and Person:A Systems and guide sheets for student use. We tions and MIDI," TeachingMusic 4, no. 2
View of Creativity,"in TheNature of Cre- can ask if classroom teachers would (October 1996): 43-45. Other projects
ativity: Contemporary PsychologicalPerspec- like to include composing or impro- that have Web sites with additional infor-
tives, ed. R. Sternberg (New York: Cam- mation are the Vermont MIDI Project
vising activities as part of their class-
bridgeUniversityPress,1988), 325-39. room computer centers (as "free (www.vtmidi.org), the MICNet project at
15. Carl Orff and Gunild Keetman, time" enrichment) or encourage stu- Northwestern University (collaboratory.
Musicfor Children,Vol. 1: Pentatonic,edi- dents to compose music to add inter- acns.nwu.edu/micnet), and the NET-
tion 4865, adapted by Margaret Murray est to language arts or social studies COMM Projectat the Universityof Illinois
(London:Schott Music, Inc., n.d.). ? (www-camil.music.uiuc.edu/netcomm). U
projects.

JULY 2001 53