This class explores improvisation as both a solo practice and as an ensemble practice. One of the most important aspects of becoming an improviser is learning to love and trust the process of improvisation. That means you have to accept failure as part of the learning process. Students will listen to solos by musicians from disparate improvisational traditions; We will discuss shape, transition, transformation, development, process. Various types of ensemble playing will also be studied, including duos and trios. We will also play as a full ensemble. Listening assignments are an essential part of this class; Assimilation of models is a slow process, and it only works if you do the work! In order to develop the beginnings of an improviser’s vocabulary, students will learn about pitch systems, rhythmic units, gestural study, and potential forms. We will look at some of the compositions and exercises that Composer-Improvisers have developed in order to explore different approaches to listening and interaction, beginning with Pauline Oliveros’ Sonic Meditations. The performance component of this class is central, and the class will culminate in a public presentation. Textbook: Improvisation: Its Nature and Practice in Music by Derek Bailey (Da Capo Press) This course can be used to satisfy the Chamber Music requirement for Mannes students, or the 21st Century Proficiencies (Composition/Arranging) requirement for Bachelors of Music students. Open to juniors and seniors with permission.

This class explores improvisation as both a solo practice and as an ensemble practice. One of the most important aspects of becoming an improviser is learning to love and trust the process of improvisation. That means you have to accept failure as part of the learning process. Students will listen to solos by musicians from disparate improvisational traditions; We will discuss shape, transition, transformation, development, process. Various types of ensemble playing will also be studied, including duos and trios. We will also play as a full ensemble. Listening assignments are an essential part of this class; Assimilation of models is a slow process, and it only works if you do the work! In order to develop the beginnings of an improviser’s vocabulary, students will learn about pitch systems, rhythmic units, gestural study, and potential forms. We will look at some of the compositions and exercises that Composer-Improvisers have developed in order to explore different approaches to listening and interaction, beginning with Pauline Oliveros’ Sonic Meditations. The performance component of this class is central, and the class will culminate in a public presentation. Textbook: Improvisation: Its Nature and Practice in Music by Derek Bailey (Da Capo Press) This course can be used to satisfy the Chamber Music requirement for Mannes students, or the 21st Century Proficiencies (Composition/Arranging) requirement for Bachelors of Music students. Open to juniors and seniors with permission.