Chapter 1 O Quick-Start Improvisation Game Favorites (in All Categories) Ir may take some time to become acquainted with the considerable array of games, and although multiple indices are available, this section allows the (impatient) player(s) to get started right away by providing a selection of games organized by number of players (one to four, five-plus, and large groups). Note: Games the designation “plus” (e.g., three-plus players) may also be played by more than that minimum number if desired, depending on how the game is set up. Many games may be performed vocally as well as instrumentally, and most incorporate additional players on percussion whether indicated in the instructions or not. Games for One Player World - Pereussion [Rhythm Games] One player. While going about your daily life, turn everyday objects into percussion instruments in any way that you can. Tap a groove on the railing as you go down the stairs. Shuffle your feet in time on gravel or leaves. Beat a tattoo on the book you are carrying. Shake a handbag in time. Snap your fingers or clap your hands. Accompany this beat with humming, mouth noises, a spontaneous rhyming (or not) poem about what you see, smell, or hear, ot how you feel. Use anything you have or encounter to create rhythms and sounds. When a lot of people are around, you might consider wearing an iPod [turned off] or holding a cell phone up to yout eat so that others make allowances for you being musical on the move. Offbeat Metronome [Rhythm Games] One player. When practicing scales or other technical materials, hear the metronome click on two and four instead of on one and three. Once you get the hang of it, brag to your friends that you have a special metronome that clicks on the offbeats—and then demonstrate. They may want to know where they can get one, too.Chapter 1 O Quick-Start Improvisation Game Favorites (in All Categories) It may take some time to become acquainted with the considerable array of games, and although multiple indices are available, this section allows the (impatient) player(s) to get started right away by providing a selection of games organized by number of players (one to four, five-plus, and large groups). Note: Games the designation “plus” (e.g., three-plus players) may also be played by more than that minimum number if desired, depending on how the game is set up. Many games may be performed vocally as well as instrumentally, and most incorporate additional players on percussion whether indicated in the instructions or not. Games for One Player World = Pereussion [Rhythm Games] One player. While going about your daily life, turn everyday objects into percussion instruments in any way that you can. Tap a groove on the railing as you go down the stairs. Shuffle your feet in time on gravel or leaves. Beat a tattoo on the book you are carrying. Shake a handbag in time. Snap your fingers or clap your hands. Accompany this beat with humming, mouth noises, a spontaneous rhyming (or not) poem about what you see, smell, or hear, or how you feel. Use anything you have or encounter to create rhythms and sounds. When a lot of people are around, you might consider wearing an iPod [turned off] or holding a cell phone up to your ear so that others make allowances for you being musical on the move Offbeat Metronome [Rhythm Games| One player. When practicing scales or other technical materials, hear the metronome click on two and four instead of on one and three. Once you get the hang of it, brag to your friends that you have a special metronome that clicks on the offbeats—and then demonstrate. They may want to know where they can get one, too.Improvisation Games for Classical Musicians Poet Lariat (Rhythm Games} One player. Use any poem or famous oration as a source of rhythm for an improvisation. Simply play the rhythmic meter of the poem. Keep pitch choices narrow at first; a pentatonic scal@ would work well. Swing It [Rhythm Games] One player. Take any technical exercise (scale, arpeggio, or other pattern), etude, familiar tune (folk song, camp song, pop tune), classical theme or melody, or invent your own, and swing all the eighth notes. If you don’t know what swing is, it don’t mean a thing, just go and listen (and sing along) to a lot of big band music from the 30s and ’40s until the concept of swing becomes clear. Variation: Do it all again with a friend. Transformation [Rhythm Games] One-plus players. Transform any familiar tune by playing it in another meter (and pethaps style). For example, play Stars and Stripes Forever as a waltz, Yankee Doodle in 5/8, or America, the Beawtiful in 7/8. Seale Accents [Accent Games} One player. When practicing daily scales and arpeggios, add various accent patterns, e.g,, accent every other note, every 3% note, or every 4th note. For a challenge, accent every 5t note or more. The most interesting patterns are those that do not coincide with the meter, such as ternary accents in duple meter or vice-versa. Additional ideas: Combine odd/even accent groups: e.g. 2+3, 3+2, 3+3+2, 2+2+3, 34242, Irregular accents. Improvise accent groupings as you move up and down the scale, sometimes duple, sometimes triple, sometimes long groupings. Combine accent groupings with various articulations: all staccato, all legato, combinations of legato and staccato within accent groupings. Double the fun and make it a duet. Share a pulse. Try to play exactly the same accent/articulation patterns as your partner while being independent in choice of accent groupings. Rainbow Scales [Melody Games] One player. Play any one-octave scale up and down (only!), but instead of playing it the usual colorless way in straight eighth notes, add all kinds of variation: change the note values, accents, dynamics, articulation, and/or tempo; add rests. In short, make music out of it. Make the scale as musical and inter- esting as possible. Variation: Do the same with two players, playing both independently and in relation to each other (e-g., one player may lead as the other imitates, mirrors, or matches style; or both intermittently lead and follow).Chapter 10: ick-Start Improvisation Game Favorites Far Out (Melody Games] One player (or two; you may also add percussion ad lib.). Improvise an atonal melody. Emphasize dissonant intervals such major and minor seconds, tritones, and major and minor sevenths. Give the atonal melody coherence by using repetition, sequence, and dynamic phrasing. / Familiar Tune [Harmony Games] One to four players. This game has so many musical vitamins and minerals that it should be done daily; but the best reason to do it is because it is both challenging and fun. Choose a familiar tune, something that each player knows already very well (examples: a children’s song, folk song, Christmas carol, etc.) and try to play it by ear. After all players can find the melody easily, one ot more players may play the melody while the others play any of the following (all by ear, of course!): 1. Chord roots 2. Harmony part(s) 3. Countermelody 4 | 4. Variations on the melody Ir is best to add them one at a time. Give everyone a chance to try them all if possible. Then turn everyone loose to play any of the “roles” they like. Do this in an easy key (e.g. C major), and then gradually ery it in all keys until they are all easy keys. Variation: Begin again and switch modes, i.c., playing the tune in minor (or in major if ‘the tune was minor). For the daring: add dissonant notes to the harmony. Play It Again, Sam [Aural Games} One player. Improvise a bit of music, anything from a short motif (three to four notes) to an entire phrase. Immediately play it back as exactly as possible. If it is too long or complex to remember exactly, shorten and/or simplify. As this facility develops, gradually increase the complexity (key, tonal/atonal, shythm/meter, etc.) and length. Fanfare [Technique Games] ‘One to three players. Pick an arpeggio of any chord type in any key: major, minor, augmented, dimin- sshed, etc. Play alone or as a duet (or trio) using notes from the chord (may include the seventh or ‘einth) in fanfare-style figures (duple, triple, or both). Dirge [Style Games} ‘One player. Create the saddest piece possible. Suggestions: Minor keys, extended techniques, low register, long tones, dynamic contrasts, dissonance, and/or slow tempo. Give the piece a name (as you do all your pieces) and/or dedicate it to a dearly departed one. Variation: Add a second player to provide accompaniment. 55