Improvisation through Arioso Land
I reflected on the idea of a quality music education, I was introduced to Feierabend’s phrase, “tuneful, beatful, and artful,” in the Early Childhood music course (Feierabend Association for Music Education, 2022). These three words, in my opinion, encapsulated what a quality music education should accomplish. These words imply the student can not only accomplish the musical objectives of a singular lesson, but that they also possess general musicality in a long-term sense. The phrase “tuneful, beatful, artful” is now a phrase I regularly use alongside of “quality music education” in conversations with parents and students, as it clearly and quickly communicates my short-term and long-term goals as a teacher.
One characteristic of a “tuneful, beatful, and artful” person is the ability to improvise musical ideas. Improvisation combines all three of these characteristics as the student utilizes melody, rhythm, and artistry to create new musical ideas. During the Early Childhood Music course I was introduced to the First Steps method by John Feierabend. Using the First Steps method gave me an organized manner with which to guide early childhood and elementary classes through the process of becoming tuneful, beatful, and artful, particularly challenging me in facilitating musical improvisation. In the past, improvisation seemed unattainable, but activities such as Arioso Land demystified teaching improvisation and made it enjoyable. I realized that improvisation was quite easy to facilitate, and that many children do it quite naturally. Facilitating these improvisational moments means that my students have increased creative opportunities as they demonstrate their tuneful, beatful, artful qualities. Incorporating these practices at a young age for students encourages a greater sense of creativity and student-generated ideas in the music classroom. It also can instill them with more confidence for solo-singing, as Arioso Land gives them regular solo opportunities. When these solo opportunities begin at a young age, there is a higher chance students will be willing to contribute in later years as well. I have also enjoyed the classroom rapport these activities can cultivate, as it requires students to listen to each other and appreciate creative contributions. I use Arioso Land constantly now, especially in lessons with young students.
Other Forms of Improvisation
Once I began using Arioso Land with younger students, I had no remaining excuses to avoid improvisation with any age group. My lessons now incorporate much more improvisational exercises and projects than they did before, and in new ways I had not imagined prior to this program. Sometimes I use the vocal improvisation techniques of Arioso Land with older students; other times, I pull small motifs from repertoire or even technical exercises as a launchpad for these activities. For example, when a student is learning to clap and count a rhythmic exercise, I sometimes turn these into improvisational activities, asking them play it with three to five notes. Often this “improvisation with guideposts” lends itself to compositional ideas.
I believe sharpening and enlarging my improvisational facilitation skills have caused a burgeoning amount of independent creative musical output from my students of all ages. I am often presented with new side projects students have initiated. I see this as evidence that my newfound skills of improvisation pedagogy are encouraging more creativity, and students are making transfers they seem to enjoy.
Evie Haskell Processfolio 