The training of a musician should include the ability to improvise in any musical style. It the musician happens to be a singer, that includes improvising in any language, including the singer’s own (a scary thought for most singers who are asked to improvise text in their native language). “Classically” trained musicians, however, are so seldom taught to improvise that when the subject of improvisation is raised among musicians, they almost automatically assume it is in reference to jazz.

Classically trained musicians (and their teachers) often credit the ability to improvise to a vague genetic source, as in “you just have to have the knack for it.” While there might be a kernel of truth in this thinking-some proclivity toward improvisation could possibly exist- the chances of such an “improvisatory” gene are quite slim. In fact improvisation, like expressive performance, can be taught. The question is, how?

“Teach large to small” is a pedagogical premise that applies to most teaching, whether it be a physical activity (sports or musical performance), or a process of conceptualization such as mathematics or history. With physical activities, the concept translates into the process of moving from large muscle usage (large, generalized movements) to smaller muscle usage (small, more refined movements).

The process of large to small/general to specific is not a one-way street. No two learners are alike, and learning is not a linear process. Be prepared to swing between large-small/general-specific as needed.

There are the basic categories of games used in early improvisation experiences.
• Games with sounds and movements, and limited structure
• Games that mix structure and improvisation

Step 1:
“For every sound, there is a gesture; for every gesture, there is a sound.” Emile Jaques-Dalcroze
[Organization: usually standing in a circle, but adjust to setting.]
A. Teacher: “I will give you a gesture. Watch closely, then you make the gesture and a sound to go with it.” Teacher performs gesture, students repeat gesture and improvise sound. The teacher selects a student to make a gesture, etc, until all the students have performed the exercise. NOTE: it is a good idea to call on students randomly so they learn to respond spontaneously. Typically, students will pause to “think” about or “plan” their improvisation. A rule that needs to be introduced early is, “when I call on you, go immediately. Don’t hesitate.” If a student hesitates after being informed of the new rule, move immediately to another student.
B. Teacher then reverses the game: “I will give you a sound,” etc. [A and B can be reversed.] As the game proceeds, the teacher calls the students’ attention to ever-more refined details. One of the goals of the games is to improve the skills of paying attention and concentrating.

Sound in Motion
Have the students work in pairs.
Teacher demonstrates the game. Teacher picks a “volunteer” partner. Teacher to partner: “You give me a sound and gesture to imitate. Ready.” Then, teacher says: “You imitate me now.” The rest of the students proceed with the game. After the students have played this game for only 3-4 minutes, reform the group into a circle
Teacher calls on student who is in the circle opposite the teacher. “Joe, come over to me making a sound and gesture that I can imitate. Student moves to teacher, teacher then imitates the student sounds/gestures as the teacher crosses the circle. Approximately half-way across, the teacher transforms the sounds/gestures into other sounds/gestures.
Teacher (while crossing the circle doing direct imitation): “what am I doing now?” After transforming the sounds/gestures, teacher asks: “what did I do?” The goal of the questions is to have the students conceptualize what the teacher is doing (”you are imitating…now you changed”). Students need to learn to move from mere description to analysis.

Step 2 Direct imitation
Teacher sings two pitches while drawing them in the air, students imitate the singing and drawing one beat later. Teacher sings and draws three or more pitches, students imitate one beat later. Game continues as teacher directs the students to “follow me as soon as you can.” An outcome of the this game is increased attention and concentration. Once the students have become accomplished at this game, an observer would have trouble picking out who is leading and who is following.

Step 3 Question and answer
NOTE: the following game can be performed on instruments.
Teacher begins by asking a student a question, receives replay, asks another question, in a conversational manner. The teacher points out that Western music is based on the idea of question and answer. [This can lead to a profitable discussion on how we know a question is being asked, an answer given, and how we know when someone has stopped talking and is waiting for a response.]

Using sounds only (no words) teacher approaches a student and asks a question. Student replies, again using only wordless sounds. Teacher invites the students to carry on “sound” conversations with one another. A VERY IMPORTANT RULE: just as in normal conversation, we wait for one person to stop talking before another person talks. No interrupting. [This is a good example of teaching a basic, and often ignored, social skill through a musical game.]

Step 4 Musical question and answer (rhythm only)
This is a repetition of Step 2 but using improvised rhythmic clapping only to indicate the question and answer. Remember, no interrupting!

Step 5 Musical question and answer
Teacher picks a student partner. The teacher sings an improvised melody in the style of the teacher’s choice, being sure to form the melody into a musical question. Theoretically, the student responds with a musical answer. “Theoretically” because often the student will not understand the style, or will not be able to stay within the implied harmony, or both. This game will very quickly lead the teacher to discover what students need exposure to more musical styles, have an inadequate harmonic or rhythmic sense. NOTE: in this game as in all other games, it is vital that the teacher model the desired behavior for the students. This means the teacher must be using her/his body to show the quality of beat and flow of the music. Also, the teacher must insist that the students use their bodies similarly. It is most common for a should to stand still while listening. Remember: a goal of using movement to teach music is to teach people to listen with their bodies!

A very useful way to end a lesson in improvisation is to create an ostinato pattern using both rhythm and melody, and give the group the experience of a group improvisation. For example:
• Teacher improvises a repeating rhythmic/melodic pattern in a particular style and a student improvises over the ostinato.
• The teacher can perform an ostinato and have two students improvise over it.
• A student improvises the ostinato and another student improvises over it.
• Several students perform an ostinato while the rest of the class improvises.
• The teacher can “conduct” the performance by selecting soloists, indicating when s/he wants everyone to perform, etc.

There are many more variations on the games listed above. Use your imagination and you will discover how much music truly lies within you and your students.
Coordination / Disordination Games