Out of all the music curriculum the two most daunting subjects for me have always been composition and improvisation. Neither was really incorporated into music classes in my school unless you happened to be a part of the jazz band. Since I was a French Horn player and didn't have the confidence in myself to learn a second instrument at the time, I was never really given the opportunity to learn to improvise or compose. Last week, many of my classmates, including myself, talked about being daunted by incorporating technology into the classroom because they feel they are not as knowledgeable about, or as comfortable with, technology as they would like to be. I find myself in a similar situation this week. I feel less than confident in my ability to teach composition and improvisation when I don't feel I excel at these subjects myself. My education was performance based, and as a result, my teaching has been mostly performance based.
Bauer's text this week really helped me put some of these insecurities to rest. I feel like the reason I have always been so uncomfortable with improvisation was because I was afraid to make mistakes (I am, unfortunately, a bit of a perfectionist sometimes). More to the root of the problem, I didn't understand the basic rules of building up to improvisation, and set myself up for failure. I particularly appreciated Bauer's point that parameters need to be set in order to begin such a complex process as improvisation. Starting with just a few notes, or rearranging written music is still improvisation, but it doesn't mean that I have to begin improvising with perfect melodic and harmonic devices. I also really liked Bauer's levels of improvisation and how it laid out what the goals are for the performer and how the teacher can facilitate each student in achieving these goals. I think the best quote in this entire book so far was quoted from the creator of the Dilbert comic, Scott Adams; " Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." This really helps me throw my fear of making mistakes out the window when it comes to music. It puts this into a new perspective for me.
Although I found these general tips in teaching improvisation helpful, I relate to the idea expressed last week about teaching a lesson well, but being able to teach it better with technology. I have used Smart Music before in my student teaching, but had never really thought of the accompaniment feature as a way to teach improvisation. I was always focused on using that feature to rehearse contest music when an accompanist was not available. Even technologies I have access to can be used in new ways to accomplish new techniques and lessons for my students. I am also very intrigued to learn more about Band-in-a-box and iRealb since these are programs I have not used before, but am excited to see what they offer in terms of teaching and learning improvisation. I have to say that Bauer's textbook is one of the first that I am actually excited to read more from to get new ideas and directions to take my teaching!
Sarah,
ReplyDeleteI 100% agree with you! Composition and improvisation are terrifying! Improvisation is only slightly less scary for me because I was in a jazz choir in high school. However, that is my only experience with it! And I absolutely agree with you about making mistakes; I am a total perfectionist and mistakes are not in my music vocabulary, I also enjoyed how Bauer laid out the parameters for improvisation and the levels of improvisation. I feel like that actually gives me someplace to start, rather than the feeling that improvisation has to start from nothing. As I am not currently teaching, I do worry that some of what we learn here is going to be outdated by the time I can actually find a job. I hope that is not the case, as I am also excited about some of the ideas and techniques that I am learning from the lectures and the textbook. Thank you for your post this week - I completely related to everything you said!
To both Sarah and Danel,
ReplyDeleteThe feelings that you both expressed concerning improvisation are remarkably common in the world of music education. At least this is what I have found in my short time as one. I was lucky enough to have started on a "jazz" instrument, as I am primarily a saxophonist. I should point out that there is a reason that I put "jazz" in quotations. I have through my own experiences and studies come to believe that there is no such thing as a "jazz" instrument. While I was in undergraduate, I spent just as much time studying jazz saxophone and improvisation as I did classical saxophone. I studied with a man named Paul Smoker, who is renowned for his virtuosic technique as both a jazz and classical trumpeter. He has made numerous jazz albums, he has received critical praise in DownBeat Magazine and he has played all over the world with some of the greatest jazz musicians in history. He even worked with legendary jazz trumpeter and Tonight Show musical director Doc Severinsen. I do not speak of his accolades and prestige because I wish to sound important. I say these things because he allowed ANYONE with the desire to take improvisation and to join the jazz groups that he led at Nazareth College. We had French horn players, flutists, clarinetists, tuba players, vocalists, and even a violinist in the colleges jazz band, and he taught most of these students improvisation in private lessons. He didn't care one bit about what instrument you played. To me, if a world-class musician doesn't seem to think that there is such a thing as a "jazz" instrument, then who am I to think so?
Now I certainly don't say these things to scold either of you! In my opinion, the sad reality is that far too many music educators at all levels are very strict in their definition of what constitutes a jazz band, and thus the vast majority of students never even have the opportunity to learn improvisation. I suppose that my advice to you is to never think that you are somehow not allowed simply because of what your primary instrument may be. A great place to start is the play-along series by Jamey Aebersold. He has TONS of volumes of books that come with accompanying CDs that actually provide a rhythm section that plays with you as you play through both the melody of jazz, blues, and pop standards, as well as improvising over the chord progressions. Starting with the blues is a great way to build confidence, as you can successfully improvise with the use of only one scale (the blues scale). His volume 42 "Blues in ALL keys" is fantastic. And honestly, when it comes to improvising, a great place to get ideas is to listen to as many recordings as you can. My aforementioned jazz teacher had a great piece of advice when it came to listening to the greats that came before. He would say to us "Only God can create from nothing. What makes you think that you can do the same?" All he meant is that even the greatest musicians in the world get their ideas by listening to others. I know this was remarkably long, but I hope that it helped!