> Question 1. [improv] you might find more on improv in the archives, it has been discussed here before.
My first instrument was voice, followed by guitar, eventually I came to lute. In all of that I was one of those who play by ear. I find it difficult to play from score, if the version of a piece in front of me imitates something I have memorized I have difficulty playing the 'wrong' notes (rhythm, whatever differs) as they are written. In choral music rehearsals I find there is a point where I can hear the music in my head; at that point I am off-book, able to give the conductor my full attention, and capable of improv. To do improv well one must somehow have gotten into the idiom of the music. If it is 'inside' you, then that is sufficient, I suppose some work from a more cerebral approach, cmnsidering the rules of counterpoint etc, but I was never taught them. Some of us were exposed to music at an early age, this is true in my case. mom divorc4ed dad early, flew cross country to rejoin her family. Her younger brother had also just returned from service in Korea, and they rented a house together. From his rooms I heard be-bop, jazz, and big-band. From hers it was Mozart, Bach etc. Perhaps that exposure had something to do with it, perhaps other things in my personality contribute as well. People who know me well will confirm I see things from all sides and am not shy to debate, especially I love to confront authority. See if you can get her involved in singing - sweet adelines, madrigals, shapenote, karaoke; any form that encourages harmonious invention. The voice is always there (unless you tire it out), and is not so challenging to master to the point of being suitable for improv as any other instrument. Singing along with old folk groups (Peter Paul and Mary, Pete Seeger, Steeleye Span...) or golden oldies (everly brothers, johny cash, elvis...) or pop artists like Harry Belefonte and picking out the harmony, perhaps stumbling into a new one. When I was learning guitar, I spent some time late at night in bed with the lights out, practicing chord switches and playing pieces from memory. Sometimes I would work out pieces I had no music for, but knew by heart. Drills on riffs, parallel thirds, fifths, are available at good music stores but can also be invented and set down and should be a small part of daily practice. Once in your fingers they can be used in improv. The art of improv includes an awareness of what is happening in the ensemble, riffs in other parts, an upcomming harmonic shift, a suspension about to be resolved, you can work with and against such things in artful ways. today one can use composition software to playback loops so you can practice in privacy. That wasnt possible decades ago, one had to use other means. When you are sufficiently familiar with a recording you can replay it in your head, and then have something to sing against. Jam sessions, small freindly groups doing madrigals, part songs, catches, glees, do-wop; that is where you can be comfortable making mistakes as you try things out. Sometimes the mistakes work BTW, often dissonance is artful, so be confident, if your riff makes sense horizontally but makes a false note vertically, you have two choices - embellish so the dissonant notes add some spice but pass quickly, or keep it strong as a dissonance. Introduce her to the works of Josquin, Hayne, Busnois etc. This is the art music of the late 15th century, and is essentially written-out improv. I find it compares well to good dixieland. Schott has editions intended for recorders that are inexpensive. Good luck to your daughter, lots of fun and challenge lies ahead. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
