This week's #TheoryThursday brings you some of the basics and games of Vocal Improvisation

1. Start with a Motor: a repeating musical pattern that leaves space and drives the song forward.

2. Next add an Interlock: a repeating rhythmic pattern (still tonal) that weaves through the Motor using syncopation to create polyrhythm. The Interlock must be its own independent melody. It compliments the Motor without simply being an accompaniment. Usually the Motor starts on a downbeat, so the Interlock should start on an upbeat, filling in the space left by the Motor.

3. Then add a Contrast: a repeating melodic phrase that contrasts both the Motor and Interlock in terms of articulation, range, color, etc. Usually, the Motor and Interlock are short and rhythmic, so the Contrast is often longer and smoother. The only other rule is that it must start on a note other than Do, Mi, or Sol to show more of the tonal landscape.

4. Fill in with Harmonies, Percussion, Base, Pads, etc., as needed.

Some Games Utilizing These Concepts:

Traveling Quartets

A four-movement piece comprised of the Motor, Interlock, and Contrast creating a world for the Soloist.

After the Motor ends each movement, every player shifts to the adjacent position to begin the next movement as a different role. (e.g. Solo becomes Motor, Motor becomes Interlock, etc.)

InstaBand

A framework that can be expanded or contracted to fit any group size.


An order of functions could be: Motor, Motor Harmony, Interlock, Contrast, Contrast Harmony, Base, Percussion, and Solo.

Pads, Interlocks, Wildcards, etc., can be used to increase the group size. Notice how "Base" is not spelled "Bass" because it is a function, not a vocal range.

Players go down the line, building the arrangement piece by piece.

The next level would be taking your initial phrase an sequencing it. One possible sequence is A A' A B, which simply means: your original phrase, that same phrase with a slightly different ending, the first original phrase again, then end with something different.

TURN

A game to of piggy-backing and context

1. Five(ish) singers stand in a line, facing away from the audience.
2. At any point, any singer can turn around, repeating a musical idea.
3. Other singers can turn to join with looped harmonies, unisons, interlocks, contrasts, percussion, etc.
4. At any point, any singer can turn back around silently, either listening for a new part or waiting for a shift to occur.
5. The group finds an ending together.

Shifting Stations

A game of changing roles fluidly with confidence and flexibility

1. Three singers stand in a semicircle.
2. First singer enters with a Motor. Next singer follows with an Interlock. Third singer adds a Contrast.
3. When someone breaks out from their role into a new Motor, Interlock, or Contrast, the other two players must adjust their parts and functions to ensure that all roles are covered at all times.

The Flippy Floppy

A game of spontaneous songwriting

1. The Soloist asks the audience for a one-syllable name and an occupation.
2. A four-phrase Motor, Interlock, and Contrast are composed using the A A' A B sequence.
3. Soloist sings free-form (doesn't have to rhyme) lyrics for the verse.
4. On the Soloist's cue, the entire group goes to the "Chorus," trying to find the same "Chorus." Soloist sings two rhyming couplets.
5. After the Chorus, everyone goes back to the same Verse with different lyrics from the Soloist.
6. Soloist cues going back to the same exact Chorus as before and ends the song.

These games and techniques were heavily influenced by the work of Rhiannon and her Vocal River.



Rhiannon also released an incredibly clever and well thought out album entitled "Flight," that allows you to learn and study with her through guided improvisations and prompts that should be practiced every single day.


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