Teaching Improvisation Outside of Jazz Settings.

When children hear the word "improvisation," they often think of hot Jazz--fast solos, syncopated rhythms, and complex harmonies. Students in general music classes may be familiar with bebop and rarer jazz eras. Charlie Parker and John Coltrane are some of the first jazz greats that may come to mind. Children who learn jazz from their parents' or grandparents' record collections might know the music of Glenn Miller, Duke Ellington, Paul Whiteman, or Count Basie. Others may be familiar with jazz improvisation groups that mix jazz with hip-hop sounds, such as Us3, whose 1993 version ("Cantaloop") of Herbie Hancock's "Cantaloupe Island" received extensive airplay on MTV and major radio stations.(n1)

However, when it comes to teaching improvisation, jazz may not be the best or most logical genre to start with. First of all, as children get older they prefer faster jazz tempos, which, as one might expect, are the most difficult for beginning improvisers.(n2) Second, jazz rhythms and "swing feel" are based upon syncopation. Most young improvisers, on the other hand, are only familiar with simple downbeat and upbeat relationships. Finally, jazz harmonies often veer away from major and minor tonalities and contain seventh chords and chord substitutions. These harmonies may sound strange and unresolved to ears that are accustomed to orchestra and band arrangements of popular music.

If not jazz, what genre should be used for beginning improvisation? To answer that question, one must decide what improvisation means--not for professional jazz musicians but for young music students. Improvisation is the spontaneous, creative generation of melody, rhythm, and phrases, without specific preparation or premeditation.(n3) The adjectives "spontaneous" and "creative" need not mean "complex," however, and the very first improvisation exercises should start with no more than one or two notes. Both instrumentalists and vocalists can improvise timbres, dynamics, and rhythms on a single tone to get familiar with making music without the written page. As students become more experienced with improvisation, they can naturally add notes to their creations, without improvising in a specific genre. Improvising on standard melodies with chord changes, embellishments, riffs, and licks can come later.

One reason students are often shy about improvising is that many times it means playing alone in front of other students who will watch and perhaps judge them. Although this may often be the case in jazz, improvisation education does not necessarily have to mean that students have to play solo. Just as musicians play written music in ensembles, they can improvise in groups as well. This approach to improvisation establishes a high level of creativity because ideas are passed from one improviser to another. In his article "Opening the Door to Classroom Improvisation," Paul Goldstaub recommends several suitable activities for group improvisation.(n4) Essentially, collaborative efforts mean greater possibilities for critical thinking in the classroom, and improvisation does not necessarily mean a solo performance.

Eventually, students will probably want to improvise solos in a particular genre or style. Specific musical genres that lend themselves to improvisations by student musicians include bluegrass, blues, ska, reggae, rap, klezmer, and rock. Vocalists and players of any instrument can use these genres as a basis for creative improvisation. The melodic complexity, harmonic complexity, and tempo elements of these genres make them conducive to improvisation. Furthermore, many children listen to some or all of these genres in their leisure time. They may already be familiar with the necessary musical "vocabulary" of one of these genres and, therefore, be able to concentrate on improvisation itself. These genres are described below, along with examples of recommended recordings.

Bluegrass is a traditional form of American music that usually involves stringed instruments and provides a model for beginning string improvisers. However, the music need not be exclusively for string players--everyone can enjoy bluegrass.

Melodic complexity: Melodies tend to be very simple, and beginners can master them quickly and easily.

Harmonic complexity: Harmonies are usually relegated to a few major chords or a major tonality that moves to the relative minor. Modulation and complex harmonic motion are rare.

Tempo: Tempos can be fast but perceived in cut time, which makes bluegrass feel slower.

Recommended listening: Bill Monroe, 16 Gems (Sony CK 53908, 1996); Psychograss, Like Minds (Sugar Hill SFCD-3851, 1996); The Tennessee Mountain Bluegrass Festival (CMH CD-8012, 1995); 20 Bluegrass Originals (Deluxe DCD-7909, 1987).

The blues have been played on practically every instrument. Because the blues are a basis for rock and rhythm and blues, the sound of this genre is usually familiar to most students' ears. The blues are as much a feeling as a form or genre, and students can create effective improvisations with a few notes and a lot of emotion.

Melodic complexity: Melodies are relatively simple and very repetitive. Call-and-response is an important part of many blues melodies and a good technique for beginning improvisers.

Harmonic complexity: The simplest form of the blues consists of three chords: I, IV, and V. The standard twelve-bar blues form can repeat without variation to provide a base for first improvisations.

Tempo: Tempos are very often slow to medium with definite backbeats.

Recommended listening: Willie Dixon, The Big Three Trio (Columbia CK 46216, 1990); Blues Guitar Greats (Delmark DE 697, 1996); B.B. King, Live at the Apollo (GRP GRD-9637, 1991); Muddy Waters, Trouble No More (MCA CD9291, 1989).

Ska music, combining traditional Caribbean rhythms and jazz, originated in Jamaica, stormed through Britain, and now stands as one of the most popular new genres in the United States. The song forms are generally very simple to follow, and many ska songs consist of two or three chords. Improvisation is an important element of this music because it provides catchy melodies and rhythms for the beginning soloist.

Melodic complexity: Melodies are simple and repetitive.

Harmonic complexity: The harmonies generally consist of a few chords that do not wander from major and minor tonalities. Even more complex ska songs often feature simplified improvisation sections.

Tempo: Traditional Jamaican ska styles, such as "rock steady" and "blue beat," feature slow to medium tempos with a relaxed but steady beat. More contemporary groups play the music faster.

Recommended listening: Bob Marley, Volume II-One Love (MNI 3216, 1980); Duke Reid Artists, Tribute to the Skatalites (Esoldun LG2-1015, 1991); The Specials, The Singles Collection (Chrysalis F2 21823, 1991).

Now a popular form of dance music in the United States, reggae is Jamaican music that evolved from ska. Reggae is also a good basis for improvisation because of its defined rhythm, relaxed tempo, and easy-to-follow chords.

Melodic complexity: Melodies are simple, yet melodic, and are easily sung or played. Reggae melodies tend to feature a melodic "hook" that can be an effective springboard for improvisation.

Harmonic complexity: Harmonies often consist of two or three chords. Minor tonalities are prevalent, which can lead improvisers to discover new sounds.

Tempo: Tempos tend to be slow and relaxed with a definite beat. Tempos are, in part, defined by interesting bass lines that can be played and then altered on any instrument.

Recommended listening: Burning Spear, Man in the Hills (Mango CCD 9412, 1976); Bob Marley and the Wailers, Legend (Tuff Gong 422-846210-2, 1984); Ernest Ranglin, Below the Bassline (Island IJCD 4002/524 299-2, 1996); Junior Reid, listen to the Voices (Ras CD 3200, 1996).

Most students in high school or lower grades are at least somewhat familiar with rap music. For improvisers, rhythm is an intriguing aspect of rap music, and a soloist can use rap rhythms on a few notes to create entire improvisations.

Melodic complexity: Melodies are simple, but rhythmically complex. This combination can be especially effective for improvisers on percussion instruments or other students who have experience with more advanced concepts of rhythm.

Harmonic complexity: Harmonies are very simple. Rap music tends to be based on one tonality as defined by a simple bass line.

Tempo: Tempos are moderate and very definitive.

Recommended listening: De la Soul, 3 Feet High and Rising (Tommy Boy TBCD 1019, 1989); Digable Planets, Digable Planets: Reachin' (Pendulum 7243 8 27758 29, 1993); A Tribe Called Quest, The Low End Theory (ZombaJ2 1418, 1991).

Klezmer is Jewish folk music that originated in eastern Europe before World War 1. When Jewish immigrants came to the United States, they brought their music with them, and it became fused with jazz and Dixieland. Klezmer has had a recent renaissance, and it makes for great improvisation music, especially for more advanced improvisers. Clarinet and violin are traditional improvising instruments in klezmer music.

Melodic compexity Melodies are complex, but usually based on a single tonality: the Phrygian scale. Klezmer is a good introduction to improvisation based on modes other than major and minor.

Harmonic complexity: Harmonies are simple, based on a few chords. The songs are often in minor keys.

Tempo: Tempos are fast but steady and rhythmic.

Recommended listening: Don Byron, Don Bryon Plays the Music of Mickey Katz (Elektra Nonesuch 79313-2, 1993); The Klezmer Conservatory Band, Old World Beat (Rounder CD 3115, 1991); The New Shtetl Band, Jewish and Balkan Dance Music (Global Village Music C121, 1987); Itzhak Perlman, In the Fiddlers House (Angel CDC 7243 55555 2 6, 1995).

Though the term covers a broad range of music, rock is a genre with which most children are familiar. Of course, there are complex forms of rock, but simplicity is often a virtue in this music. Students especially enjoy improvising on songs they know well.

Melodic complexity: Melodies are generally simple and often melodic. Many rock songs are based on "hooks" or "riffs," which provide improvisational fodder.

Harmonic complexity: Harmonies are usually based on a couple of repetitive chords.

Tempo: Tempos are moderate to fast, with a definitive backbeat.

Recommended listening: The Beatles, Revolver (EMI CDP 7 46441 2, 1966); Green Day, Dookie (Reprise 9 45529-2, 1994); Soundgarden, Super-unknown (A&M 3154 0198 2, 1994); The Rolling Stones, Hot Rocks (Abkco 60617, 1986).

Analyzing a genre for its improvisational merit is easy, but the implementation of ideas is a much more difficult process. The following sequence, although by no means set in stone, can help teachers organize classroom improvisation in less familiar genres.

1. Choose a genre. The idea of choosing a genre may seem self-evident, but some teachers find vacillating between genres tempting. Students, however, find this confusing. They need time to absorb their roles as improvisers in the genre, particularly if their instruments are not used in the style being studied (for example, a bluegrass bassoon is a nontraditional idea).

• 2. Research the genre. The more teachers know about a style of music, the better they can guide students through an improvisation exercise. Therefore, they need to move beyond preconceptions and learn as much as possible about a genre before introducing it in the classroom. Students themselves are an excellent resource--they very often know more about their favorite music than critics or magazine writers.
• 3. Gather resources. A little work can go a long way in improvisation education. Therefore, find appropriate recordings, program accompanying beats and sequences on a synthesizer, and have exercises ready (see the Sample Improvisation Exercises sidebar).
• 4. Introduce the genre. Asking a student to simply begin improvising is intimidating and counterproductive. Introduce the genre with recordings, your own knowledge, and student input. As students hear and understand what they are going to improvise, they will become excited about the process. For example, if rap is to be used as a basis for improvisation, students might explore different beats and timbres that they might find in rap music.
• 5. Encourage group improvisation. Students can learn a great deal from each other when they pass musical ideas around the classroom. Some students absorb stylistic contexts faster than others, and group improvisation allows for dialogue between students with different levels of understanding. When students are ready to improvise alone, the teacher can schedule a balance of both group and solo improvisations.
• 6. Let students explore. The purpose of using different genres of music as a basis for improvisation is to allow students to expand their abilities as well as their notions of what they can do. Obviously, a cellist playing reggae will have to go through a good deal of exploration. This is a positive process, however, and will eventually lead to a higher level of learning.

These recommendations are in no way meant to disparage jazz or diminish its importance in the history of improvisation. After all, many consider jazz to be "America's classical music," and the music is undoubtedly one of the greatest products of American culture. However, because of its complexity jazz is not the best music for beginning improvisers (especially young students) unless they are truly committed to improvising in that genre. In the end, a genre is only a vehicle for creative learning. If one genre works better than another, the teacher should use it.

Teachers who want to incorporate improvisation into their lessons will find that there are very few classroom improvisation materials, especially for nonjazz areas. As improvisation becomes a more integral part of the music curriculum, publishing and curriculum design companies may begin to meet the demand for improvisation materials and musical works. Until then, classroom teachers will have to be extra creative with their improvisation strategies. Branching into different genres of music is a good place to start.

(n1.) Us3, Hand on the Torch, (Blue Note 077778 088325, 1993).

(n2.) Albert LeBlanc and Jan McCrary, "Effect of Tempo on Children's Music" Preference, Journal of Research in Music Education 31, no. 4 (1983): 283-94.

(n3.) Patricia Shehan Campbell, "Unveiling the Mysteries of Musical Spontaneity," Music Educators Journal 78, no. 4 (1991): 21-24.

(n4.) Paul Goldstaub, "Opening the Door to Classroom improvisation, Music Educators Journal 82, no. 5 (1995): 45-51.

Reggae bass lines are excellent for teaching beginning improvisers. The following set of improvisation exercises is based on the bass line featured in Bob Marley and the Wailers' "Stir It Up" from the collection of hits titled Legend (Tuff Gong 422-846-210-2, 1984):

Rap music is an excellent genre for the study of rhythm and timbre. One improvisation exercise based on rap music is to have students use their voices as a "beat box." For example, student's can "sing":

Ask students to answer the following questions to encourage them to explore rhythms and timbres with their vocal beat boxes:

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