This item is not in the library — it is a part of: C. Bergstrøm-Nielsen, Intuitive Music: A Mini Handbook.
(from Tom Hall)
Learning how to hear and create endings is as important as any other part of improvising, for one simple reason — something has to end in order for something else to begin. This is true for every part of music, whether it’s a sound, a phrase, a part of an improvisation, an improvisation, or an entire performance.
We all understand endings, because our lives are full of beginnings and endings. This makes it easy to learn how to use the concept of endings in improvisation. All that’s needed is to stay aware of potential endings as they occur, and to be ready and willing to end at any time.
Once a group has developed the ability to recognize endings and make use of them, this becomes an important compositional tool. But in order to use this tool the group must develop the shared awareness that a potential for ending has occurred, and that someone has made the choice to end or to not end.
This simple exercise is great for developing awareness of endings. It can be done with any number of people, but I have found duets get the point across the fastest. It helps a lot to have an experienced “ender” listen for and point out potential endings.
Exercise
Start playing.
Stop at the first potential ending that occurs.
Once that’s been mastered, here’s a series of variations of increasing complexity!
Variation 1
Be aware of the first ending and choose whether or not you want to go on.
Variation 2
Be aware of the first ending and choose whether or not you want to go on. If you choose to go on, be aware of whether what you’re doing is a continuation of the 1st section or a new section.
Variation 3
Be aware of the first ending and choose whether or not you want to go on. If you choose to go on, be aware of whether what you’re doing is a continuation of the 1st section or a new section. If there is a third section, is it a continuation of the 1st section, a continuation of the 2nd section, or a 3rd new section?
The wording above is by Carl Bergstrøm-Nielsen, as written in Intuitive Music: A Mini-Handbook, licensed CC BY-NC 4.0 (Bergstrøm-Nielsen 2009, 14)
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