This objective follows on from objective 2 which concentrated on the characteristics of a classical education. By taking the results from that, it allows for a more foccussed pedagogical approach. In addition to the research done on a classical education, this objective also draws from research done on pedagogical practices. The purpose of it is to ensure that learning is delivered most effectively within my guide.
To view this with the images click this link- Objective Three- Tasks 1, 2 and 3
Methods of teaching improvisation to classical musician
Objective 3- Pedagogical considerations
It is recognised that in a classical education there is much
emphasis on following notation. ‘While classical musicians emphasized the drive
to excel musically and technically and prioritized notation-based skills and
analytical skills, non-classical musicians attached greater importance to
memorizing and improvising’. (Creech, et al 2008) Therefore, when devising
targeted learning methods, the delivery of concepts within a context a
classical pianist would understand is arguably desirable. A model for this can
be seen in ‘A classical approach to jazz piano improvisation’ (Alldis, 2003) The author first introduces the concept to be
learned and then shows its usage within a classical context before it is
applied within an improvisation setting. (For example see Alldis,2003 p19) If
learning can be contextualised in this manner then it is likely that the
classical pianist will make the realisation that improvisation isn’t completely
unrelated to that of what they are already familiar with. The effectiveness of learning can then be
increased by introducing the concept at the simplest level and then developing
learning based on knowledge a student has already acquired. This should ensure
that the method doesn’t assume any leaps of knowledge; a fundamental part of
pedagogy. ‘New facts build on and relate to old facts...If the beginning piano
student has learned how a quarter note looks and that it gets one count, three
more quarter notes will look like the first quarter note and each will receive
one count’, (For example see Jordon, 2003, p76)
In order to teach improvisation effectively, facilitating the use of
patterns from the onset is arguably desirable. If the user can be taught how to
relate phrases from the beginning then this should start the process of
composition. ‘Our intentions are to explore the cognitive foundations of
improvisation while testing theories about the cognition of creative processes,
e.g. by determining recurring melodic and rhythmic patterns’ (Pfleiderer,
Frieler N.D P2) This concept could be delivered by introducing simple patterns,
using one scale, at first in full notation form before gradually including less
dependence on the notation as the user becomes more adept at improvising. In
this sense learning can be delivered that is contextualised according to the
needs of the learner as it focuses on the emphasis on notation that is so
common in a classical education.(For example see Alldis 2003 p153)
Once the user is competent at creating simple patterns, how these can be
developed into building a solo must be an integral part of the method. This
again can be contextualized according to the background of the learner. As
discussed in task two, the repertoire that a classical pianist is familiar with
reveals compositional qualities which are desirable to understand in order to
achieve a successful reproduction of the piece. In ‘A classical approach to
jazz improvisation’, the author compares the development of an improvised solo
to that of a classical symphony. ‘By using melodic, harmonic and rhythmic
repetition and variation, we shall see how themes are developed in a classical
symphony, and then apply this approach to improvising over a simple blues
progression’. (Alldis 2003 p145) He then takes the opening theme of ‘Symphony
No.40’ by W.A. Mozart and describes how the theme develops throughout the
symphony by means of: repetition, fragmentation, compression, transposition,
syncopation and reharmonization. (For example see Alldis 2003 p148) By using these
techniques the improvised solo should possess the qualities of a composition by
means of how themes relate and develop. This way the improvisation isn’t just a
series of unrelated ideas. In order for the user of the method to develop the
ability to improvise effectively, it is necessary that they are able to apply
practically the theory associated with improvisation at every level. ‘Music
theory is a common example of a knowledge area from which many musicians feel
disconnected due to the lack of an outlet for creative application’. (Sarath 2009 P2) Therefore, the practical
application of concepts, even at the most rudimentary level should be a
fundamental theme of the learning method. The user should be presented with various examples
of a concept, within a practical setting which should increase the
effectiveness of learning by means of reinforcement. To supplement the
practical application, it is appropriate that the learner notates examples of
concepts. For example, the learner could be required to notate a scale in every
key before trying to play it in every key. The process of notation not only
targets the particular audience’s learning preferences, it forces the learner to
think about what notes are contained within each key before the practical
application. This means that when they apply it practically they are likely to
have greater success. Other methods use this as a theme of the learning. ‘When playing along to a recording, all the
important elements belonging to the music are learned simultaneously.’ (Moehrke
2009 p8)
At each
stage of the learning, what qualities constitute a composition will always be
of focus. As has been discussed in task two this can be contextualized
according to the repertoire that a classical pianist is likely to be familiar
with. By considering that a successful improvised solo should have similar
compositional qualities to a typical classical piece, this helps the learner
realise that their existing musicality is of assistance. For example, having themes that develop is
introduced in a basic sense by means of two bar patterns so this can be
developed and consolidated as the delivery of concepts continue. (For example
see Baker-Johnston 2003 p76) Once the user sees and understands the pattern
that exists between two bar patterns, the content of the two bars could perhaps
be varied and extended so that it still resembles a pattern over eight bars.
The means of doing this would be so it fits with the criteria for a composition
that is suggested by Alldis. For example, the concept of repetition could be
conveyed- first with reference to the melodic and rhythmic content that the
user has already learnt from the two bar phrases. Only once they are familiar
with repetition within a framework that they already know can more complicated
aspects such as syncopation, reharmonization and transposition be introduced.
All this has to be done by consolidation each time to ensure there is no leap
of knowledge. The psychology of
improvisation will also be of influence when considering how to target
learning. The aural component of the
method can be used both to give the classical musician a sense of the feel of
notated improvisations- something note easily notated. It can also be used t It is widely recognised that experienced
improvisers draw on lines and phrases that they have used in the past. ‘From a
psychological point of view, preformed patterns are important tools for an
improvising musician’ (Pfleiderer, Frieler N.D P4) Again, from the onset of the
method this can be introduced as a theme of the learning by means of repetition
of phrases.
Devising a framework for learning-
The theme of the learning is discussed below. As has been discussed
in the critical framework (Objective 4) the particular concepts focused on will
be: Major Pentatonic scale, Blues scale, Chromatic scale, major scales and the
modes derived from them and chord tones. These will be introduced using the
same theme of learning as discussed below.
An example of concept delivery- The first concept that is going to
be taught in the guide is the pentatonic scale. This is because other
self-development methods use this as a starting point due to its simplicity.
(For example see Alldis, 2003, p7 and Moehrke 2009 p8)
1.
Introduce the C major pentatonic scale, over
one octave and with the right hand only. Do this by notating the scale, showing
fingering and stating what intervals of the C major scale it uses.
2.
Ask the user to play the scale ascending and
descending until they can play it from memory.
3.
Include a typical example of the pentatonic
scale from popular classical piano literature.
For example, bars 22-23 of Debussy’s The
Girl with the Flaxen Hair. Transpose this into key of C and write in the
intervals. This has the advantage of highlighting from the onset how concepts
from classical literature can relate to improvisation, thereby increasing
confidence and motivation.
4.
The user could then be asked to put on the C.D
and an example will be heard of the C major pentatonic being played ascending
and descending, just as the user has now learnt, with a harmonic and rhythmic
backing. In this way the C.D substitutes for a teacher. The track following this
will contain the accompaniment but the scale; this time should be played by the
user until they can play it in time.
5.
Following this, simple variants of the scale
will be included in notation form. The first to be introduced could simply omit
one of the notes and replace it with a rest. This could be done over two bars
to show a simple pattern. For example:
The user would be asked to play this
until they can do so from memory, and then will be referred to the C.D where
they will first hear an example of it being played with an accompaniment. Then
they will be asked to play it themselves with the accompaniment and so start to
get a feel for how improvised phrases are made up. There could perhaps be
another three examples of slightly different two-bar improvisations that use
the scale where the second bar follows the same pattern as the first, therefore
reinforcing the learning.
6. In order
to facilitate the capability to transpose, the user could be asked to notate
the major pentatonic scale in every key. As has been discussed, the process of
notation allows for a greater understanding to be achieved. They could then be
asked to play the four examples of the two-bar phrases in each key.
7. At this
stage, instead of a two-bar pattern being presented in notation form to the user,
perhaps only one bar could be presented to them in the notation with the second
bar being left blank and so allowing them to improvise during that bar with the
aim that the second bar follows the same pattern as the first. By this stage the user has strong familiarity
with the scale and how two-bar patterns can be formed which have been presented
both in notation form and on the C.D. Therefore, they should now have the
knowledge in place to attempt this. The
C.D could be used to provide the accompaniment and the first bar. The second
bar will consist of just the accompaniment.
8. After each
playing, the user could be encouraged to try and play the same two bars again.
The reason for this is that it is widely recognised that experienced improvisers
draw on lines and phrases that they have used in the past. (For example see Clarke,Dibben,Pitts
2010 P49, Weick 1998) By incorporating this into the method, it is helping the
user build up a vocabulary for improvisation from the onset. Again, by asking
the user to notate the two bars, this should act as a means of reinforcement.
9. The user
could then be introduced to perhaps 4 bar phrases in this fashion therefore
helping to consolidate the learning.
10.
At this
stage the user, by mean of consolidation it is desired that the user has formed
a good understanding of how patterns relate. It should therefore be appropriate
to introduce eight bar improvisations that further develop the sense of how
repetition can be used in order to help create an improvisation that has the
qualities of a composition that is discussed in Alldis’ method. This can be
contextualized according to what the learner has already learnt. For example,
the same phrases that have already been introduced could be used.
The above
example uses the same two bar phrase as was introduced at 6. It has been
extended to an eight bar pattern by means of rhythmic variation and inverted
position of notes. It doesn’t however introduce the learner to any new
concepts. The same scale, phrases and note values that have been used in the
first two bars are still used in a varied form in the remaining bars. This way, conveying a sense of repetition,
key to a successful composition, (For example see Alldis 2003 p145) has been
done without there being any leap of knowledge. Following the established system of learning,
the user could be introduced to the eight bar improvisation by means of
notation first. This has the benefit of stating clearly how bars three to eight
relate to bars one and two. The user could then be played the improvisation on
the CD so that they get the correct feel before being asked to play it
themselves- This develops an understanding of how the repetition is used. They
could then be introduced to the first two bars in notation with the remaining
six bars left blank for the user to improvise. By this stage they have formed
an understanding of how the two bars can develop by means of the previous
exercise.
References
Alldies,D.(2003)JAZZ PIANO IMPROVISATION, Hall Leonard
Creech,et,al(2008)
Investigating musical performance: commonality and diversity amongst classical
and non-classical musicians, Music
Education Research,10(2)p215-243
Clarke,Dibben,Pitts(2010)Music and Mind in everyday life, Oxford university press
Jordan,M,B.(2003)Practical piano pedagogy, Alfred Music
publishing
Moehrke,P.(2004)Jazz Piano Improvisations concepts, Mel Bay
Publications
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