INTRODUCTION

In the Rhythm Section, the emphasis has naturally focused on the development of rhythmic skills, though elements of improvisation have already been introduced, since there has been a certain freedom of choice within the pieces. This part of the manual (the Improvisation Section) deals with specific processes and skills which help to prepare the way for a sensitive, concentrated approach to creative group interaction and individual spontaneity. Though the performers may not necessarily be conscious of it, rhythm will inevitably be present, because it is implicit in the organism of music.

With few exceptions, a priority is given to the development of 'aural sight' - the awareness of, and ability to listen and identify the sounds within the group environment. Since music is an aural activity, listening is an integral part of music making. Communicative interaction is only possible if those taking part can hear each other clearly. Maintaining a sound balance within a group involves each person playing at a level which is audible, without excluding an awareness of the overall sound environment. When apparently insoluble problems with sound balance arise, playing 'Suck Piece' or 'Free Space' will help to establish that a dynamic interaction can take place within a quiet environment. Having had the experience of these pieces, the group can then approach the previous challenge with a fresh awareness.

Each individual should try to maintain a balance between being a receptive ear and having creative freedom. Some pieces require the performers to direct their attention away from their own playing - for example, identifying the different sounds within the group, listening out for one specific sound, or searching for the silences in the music. It is possible to play in an almost subconscious fashion, by developing a heightened aural perception. This involves a large degree of externalisation. There is a method which can help to achieve this - we call it 'scribbling'. It is the musical equivalent of taking a pen and scribbling whilst listening on the telephone. This is a speedy activity - for instance, a trumpet player could scribble by blowing a stream of air through the instrument while rapidly waggling the valves. Scribbling bypasses the mechanics normally associated with the use of an instrument or voice. The sound should be as continuous as possible, making it easy for the other performers to search for and identify it. It is important that this continuous rapid activity is easily audible, whilst not interfering with the scribbler's intense aural concentration on the external environment. Scribbling can be a liberating activity, freeing the mind from old habits and allowing musicians to interact spontaneously, without resorting to well worn cliches. It can be an end in itself - enjoyable to both participants and listeners. If composition begins with the selection of instrumentation (as visual art begins with the selection of materials) each member of the group can compose by choosing the musical colour combination (scribbling partners) that has the most appeal.

Silence, like sound, has the property of duration. The interaction of these two elements produces music. Silence can also be viewed as the canvas upon which sounds are 'painted'. The absence of sound serves to separate and clarify musical statements, which would otherwise be impossible to differentiate and identify.

In practise silence is always relative - as an absolute, it has no existence in life. The perceiver, within a soundless environment, will become aware of internal body sounds. In this manual, therefore, when silence is mentioned it is the silence which the group has created (the 'group silence'), which excludes the influence of the external sounds which might exist within the environment (traffic, gas fires, the wind etc).

The following piece 'Free Space', on the other hand, deals positively with these environmental sounds, concentrating on them with the aim of attaining a more sensitive awareness of group sound balance.

Each person in the group should stay silent, and listen for the sounds present. Once the group has come to terms with this (the relative silence) they must try to interact at a level that allows these external sounds to be audible. This will often mean playing on the brink of silence. As well as being an aid to achieving a sound balance, it is also a worthwhile discipline with which to begin a free group improvisation.

This piece, like "Free Space', can help to solve problems with internal sound balance.

The group begins by making 'sucking' noises, by closing the mouth and breathing inwards through the lips. It will soon become apparent that sucking loudly is difficult, and requires a high degree of physical energy. Experiment with any sounds which can be produced in this way (excluding the voice box).

'Suck Piece' can be reversed - using the same type of mouth pressure to push the air out (blowing) rather than pulling it in.

The sucking can be transferred onto wind instruments, retaining the balance which has been achieved and gradually reversed into the conventional playing process. Other instruments (guitar, piano etc) can be incorporated within the level of the sucking sounds.

This piece demonstrates that an intense interaction can take place at a low volume. Any development towards a free group improvisation should take place within the sound balance which has been created.