The base line can be given by the teacher, and it may be connected to material recently
learned, which we would like to develop.
For example, if we have learned how to play with finger no. 2, we could use the following
How does it work?
First the whole class learns the base line - almost by heart. Then the class is divided
into pairs. In each pair student A - the accompanist - plays the base line repeatedly.
Student B - the improviser - joins in, exploring and improvising by ear and rhythm.
After several experiments the two players will reach an agreement as to how to begin the
piece, how and when to end it, whether or not to switch roles in the middle, whether to
include percussion and how, etc.
Options in improvisation
a. Switching roles between the improviser and
the player of the base line.
b. A soloist improviser accompanied by an
orchestra (the whole class will play the base line quietly).
c. Suggest that several students will
improvise in singing.
d. Combining percussion (tapping the back of
the instrument) in the parts of the improviser and accompanist.
e. A soloist improviser in percussion, while
the whole class plays the base line.
f. "Chaining" - combining several
improvisation pieces so as to form a chain of improvisations made up of pair work.
Everyone joins in for the last improvisation. Such a piece could have great potential as a
piece for the final concert.
We can involve painting and moods in our music activities.
How about title this lesson: "Faces in music mirrors" - Contact for the full
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