OCR LeveL 2 CAMBRIDGe TeCHNICALCeRTIFICATe/DIPLOMA IN

PeRFORMING ARTs

exPLORING MusICAL IMPROvIsATIONR/502/4869

LeveL 2 uNIT 17

GuIDeD LeARNING HOuRs:60

uNIT CReDIT vALue: 10

TECHNICALSCambridge

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exploring musical improvisationr/502/4869

level 2 unit 17

aim of unit Improvisation is an integral element of both musical

technique and performance. Technical ability and

improvisational skill are mutually supportive but a musician

does not necessarily need to be technically accomplished to

be a good improviser. This unit allows learners to explore and

develop the creative skill of improvisation and understand

its place in the development process of composition through

live workshops and analysing improvisation in performance.

It should help learners to extend their musical vocabulary

and increase their musical and stylistic interpretation

and understanding. It should encourage spontaneous

response to other musicians as part of a wider process that

combines instrumental and performance technique with

communication.

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Exploring Musical Improvisation Level 2 Unit 17

assessment anD graDing criteria

learning outcome (lo)

The learner will:

pass

The assessment criteria are the pass requirements for

this unit.

The learner can:

merit

To achieve a merit the evidence must show that, in addition to the pass criteria,

the learner is able to:

Distinction

To achieve a distinction the evidence must show that,

in addition to the pass and merit criteria, the learner is

able to:

1 Be able to respond musically to others

P1 improvise in a group, demonstrating an ability to listen to others and respond musically

M1 explain the choice of methods and structures used in the work of a peer group

2 Be able to improvise effectively

P2 improvise effectively within three distinct musical templates

M2 shape and develop material proficiently when improvising in a range of three of musical styles

D1 shape and develop material when improvising with confidence and flair

3 Be able to manipulate and develop musical material spontaneously

P3 perform spontaneously, from an agreed musical idea, to develop and manipulate musical content

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teaching contentThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.

Anything which follows an i.e. details what must be taught as part of that area of content.

Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although these do not need to be the same ones specified in the unit content.

Be able to respond musically to others

• structured and unstructured improvisation

• developing improvised musical patterns

• lead and response, leading musical ideas and responding to the work of others

• respond to stimuli using musical elements

• work within structures including solo, duo and/or group improvisation.

Be able to improvise effectively

• communicating intention and interpretation of musical ideas, styles and genres

• co-operation and relation to others

• technical skills

• working from stylistic starting points, e.g. blues/scale/raga/ chord sequences.

Be able to manipulate and develop musical material spontaneously

• reproduce an agreed musical idea

• motifivic development

• develop a musical idea in a range of styles and genres

• communicate stylistic approaches and musical interpretation to other performers.

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Exploring Musical Improvisation Level 2 Unit 17

Delivery guiDance

This is an exploratory unit that is best delivered in practical workshop sessions. Teachers should allow time for learners to investigate a full range of improvisational methods and structures which demonstrate skill development. The unit provides simply a framework for the development of learners’ improvisation skills and gives teaching staff the flexibility to decide on the most appropriate delivery methods for their centres. Learners should be encouraged to develop their aural attention skills and to cultivate an ability to work ‘by ear’. Where possible, contact time with skilled practitioners should be available. Learners will benefit from studying the practice of those currently working in the industry and by attending workshop sessions during which learners should have the opportunity to work in a range of musical styles and genres.

Be able to respond musically to others

This is all about giving, taking and sharing musical ideas which can be a challenge for individuals used to working in solo contexts. Learners could work on sensitivity and cooperation exercises that will encourage a sense of ensemble playing and will demonstrate the importance of losing the idea of ‘self’ in musical performance. Learners should be encouraged to listen to good examples of improvisation practice which contain vivid examples of musicians passing musical ideas between themselves. There are many classic but accessible tracks which demonstrate this idea such as ‘Duelling Banjos’ for example. Specific improvisational challenges can be introduced in a workshop environment with each learner taking a turn at leading with a musical idea and inviting others (either as a duo or in larger groups) to pick up the idea and either embellish it or transform it before passing it back.

Be able to improvise effectively

This can develop from the workshop process suggested above but at this point learners need to be able to discern between communication of simple musical ideas and interpretative intention where colouration and musicality will come into play. Clearly, technical skills have an important part to play but in a sense they are secondary to acquiring an ability to interpret and communicate the musical qualities (i.e. phrasing/dynamics/articulation of the music. One way to achieve this is for the teacher to play a particular idea or phrase, firstly without any colour and then to impart a clear musical quality to it.

Learners are then asked to try and reproduce the modified version and to explain what it is that has changed and what effect the change has had on the power of the idea to communicate a specific musical intention.

Be able to manipulate and develop musical material spontaneously

Spontaneity is a difficult concept to master since it requires the musician to reject any sense of pre-planning or anticipation. It will be useful for learners to be introduced to exercises that encourage a free response which latches on to an emotional rather than a musical stimulus. One way of doing this is for learners to work in pairs with one learner playing a phrase or idea that is devoid of any colour or emotion. The second player responds by repeating this exactly as they have heard it. This process may continue for some time in the form of ‘musical table tennis’ back and forth until one or other of the duo feels the moment to be right for the introduction of colour or variation. When this happens it must be spontaneous and allow the then answering partner either to repeat the new form, revert to the old or to take the idea still further. This process of constant repetition will prove most helpful for freeing up the developmental process and encourage learners to relax since they only respond differently when they feel the spontaneous desire to do so. Learners should be given guidance on specific techniques such as motivic development and working within different musical styles.

It is also important for learners to acquire a sense of style and to be able to recognise and reproduce music commensurate with a stylistic intention. Again, perhaps the best way to achieve this is for the teacher to play extracts which have a clearly identifiable stylistic signature and to invite learners to express both in words, and musically what it is that uniquely identifies that style.

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suggesteD assessment scenarios anD guiDance on assessment

Assessment and Grading Criteria P1, M1

As part of a duo each learner will take part in an improvised workshop session where they will:

• take the lead in establishing a series of three improvised musical phrases, ideas or motifs

• follow and respond to a series of three improvised musical phrases, ideas or motifs.

The activities above should be recorded onto video for assessment purposes.

For M1 learners should provide a detailed account of the methods and structures used by a peer group. This could be in a written or recorded format and should include identification of patterns and structures, repeated and/or developed phrases, use of stimuli.

Assessment and Grading Criteria P2, M2, D1

For P2 each learner will improvise within a given series of three musical templates exploring phrases, ideas and motifs.

For M1 learners should then improvise within the given series of three musical templates developing a range of three given musical styles.

D1 should be awarded where learners demonstrate accomplished performance skills including:

• an excellent grasp of a range of improvisational techniques

• a consistent sense of style or genre

• effective relationship with fellow performers

• proficient communication with the audience.

Assessment and Grading Criteria P3

As part of a duo each learner will:

• demonstrate an ability to give and receive a series of two spontaneously generated stimuli

• develop or elaborate two spontaneously generated stimuli.

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Exploring Musical Improvisation Level 2 Unit 17

resources

Learners should be given access to keyboards and ideally a range of live instruments.

Books:

The Piano Improvisation Handbook: A Practical Guide to Musical Invention by Carl Humphries

Free to Be Musical: Group Improvisation in Music by Gary McPherson, Lee Higgins and Patricia Shehan Campbell

Complete Method for Improvisation for All Instruments: Book & CD by Jerry Coker

Improvisation for Classical, Fingerstyle and Jazz Guitar by Paul Costello

Some of the many available websites:

http://www.isimprov.org

http://voices.yahoo.com/how-improvise-music-any-instrument-621987.html?cat=33

Freestyle improvisation:

www.youtube.com/watch?v=yzdObs7Wxbo

www.youtube.com/watch?v=kTNnGEFnf3o

http://www.youtube.com/watch?v=Hshtl7SJzls

www.youtube.com/watch?v=2cy1gua2yj0

links to nosSuite Ref National Occupational Standard

Music Performers and Composers CCSMPR28

CCSMPR31

Perform in a musical ensemble

Improvise music

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