MENC Forums

Two thoughts.

1. Here's an Improv game which is all about musical improvisation:

Singers stand in a circle (or on risers, if circle won't work), and the group establishes the "style." One person begins, repeating a short "bass" pattern which they see as fitting within the style. WHILE THAT PERSON CONTINUES TO REPEAT THE SAME BASS PATTERN, the next singer adds an additional SHORT vocal pattern which THEY SEE as fitting somehow with the bass. NOW BOTH SHORT PATTERNS CONTINUE, as the next singer adds their new pattern. Soon, all singers are involved, with each of them sharing their short pattern. By the way, it's actually easier to do this without using actual words, though short verbal phrases can be included.

At a pre-arranged signal, the singers wander around the room, stopping to "jam" with others in close duet, trio, quartet... groupings (where they enjoy and subtly adjust and "play" with the other voices) before they move on to other small groupings.

Eventually, you give a signal for them to come back to the circle/risers, and you "conduct" them -- pointing to individuals or sections to sing louder/softer/go "one on one" with someone else/et cetera. After you do that for a few short minutes, you bring the "piece" to an end, as you see fit (diminuendo to silence, fortissimo with sudden cutoff...).

So, you can do this with a vocal style or period, OR you can do it as an "instrumental" piece (of a certain style or period), which then means that the singers use their voices to add different "instruments" to the mix. For your purposes it would still qualify, since the singers are using what South Americans call anomatopeia -- that's "incorporating the sounds of instruments in a song/while singing."

It's a lot of fun, and can help students not just learn to improvise, but also grow in levels of commitment, trust, ensemble awareness, listening, support, et cetera. If you decide to do it, make sure your singers know that THERE IS NO RIGHT OR WRONG in Improv -- it's all about "going for it and enjoying the shared experience."

2. Here's a more basic scat exercise, which you could also do with different styles ... or just stick to the expected jazz:

The pianist plays a simple chordal progression, with each chordal expression lasting (perhaps) for five to ten seconds before switching to the next. The singers do simple scat singing, and then they point to a new singer to take over.

You could also have the group hum unison notes (or chords) which they vary at your signal, while one (or more) person scats.

All my best,

Tom