Cambridge
TECHNICALS
OCR Level 2
CAMBRIDGE TECHNICAL
CERTIFICATE/DIPLOMA IN
Performing Arts
Exploring Musical
Improvisation
R/502/4869
Level 2 Unit 17
GUIDED LEARNING HOURS:60
UNIT CREDIT VALUE: 10
exploring musical improvisation
R/502/4869
LEVEL 2 UNIT 17
Aim of unit
Improvisation is an integral element of both musical
technique and performance. Technical ability and
improvisational skill are mutually supportive but a musician
does not necessarily need to be technically accomplished to
be a good improviser. This unit allows learners to explore and
develop the creative skill of improvisation and understand
its place in the development process of composition through
live workshops and analysing improvisation in performance.
It should help learners to extend their musical vocabulary
and increase their musical and stylistic interpretation
and understanding. It should encourage spontaneous
response to other musicians as part of a wider process that
combines instrumental and performance technique with
communication.
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2
Exploring Musical Improvisation Level 2 Unit 17
ASSESSMENT AND GRADING CRITERIA
Learning Outcome (LO)
The learner will:
Pass
Merit
Distinction
The assessment criteria are
the pass requirements for
this unit.
To achieve a merit the
evidence must show that, in
addition to the pass criteria,
the learner is able to:
To achieve a distinction the
evidence must show that,
in addition to the pass and
merit criteria, the learner is
able to:
The learner can:
1 Be able to respond
musically to others
P1 improvise in a group,
demonstrating an
ability to listen to
others and respond
musically
M1 explain the choice of
methods and structures
used in the work of a
peer group
2 Be able to improvise
effectively
P2 improvise effectively
within three distinct
musical templates
M2 shape and develop
material proficiently
when improvising in
a range of three of
musical styles
3 Be able to manipulate
and develop musical
material spontaneously
P3 perform spontaneously,
from an agreed musical
idea, to develop and
manipulate musical
content
3
D1 shape and develop
material when
improvising with
confidence and flair
Teaching content
The unit content describes what has to be taught to ensure that learners are able to access the highest grade.
Anything which follows an i.e. details what must be taught as part of that area of content.
Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply
relevant examples to their work although these do not need to be the same ones specified in the unit content.
Be able to respond musically to others
• structured and unstructured improvisation
• developing improvised musical patterns
• lead and response, leading musical ideas and responding
to the work of others
• respond to stimuli using musical elements
• w
ork within structures including solo, duo and/or group
improvisation.
Be able to improvise effectively
• communicating intention and interpretation of musical
ideas, styles and genres
• co-operation and relation to others
• technical skills
• w
orking from stylistic starting points, e.g. blues/scale/
raga/ chord sequences.
Be able to manipulate and develop musical material
spontaneously
• reproduce an agreed musical idea
• motifivic development
• develop a musical idea in a range of styles and genres
• c ommunicate stylistic approaches and musical
interpretation to other performers.
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Exploring Musical Improvisation Level 2 Unit 17
Delivery guidance
Learners are then asked to try and reproduce the modified
version and to explain what it is that has changed and
what effect the change has had on the power of the idea to
communicate a specific musical intention.
This is an exploratory unit that is best delivered in practical
workshop sessions. Teachers should allow time for learners
to investigate a full range of improvisational methods and
structures which demonstrate skill development. The unit
provides simply a framework for the development of learners’
improvisation skills and gives teaching staff the flexibility to
decide on the most appropriate delivery methods for their
centres. Learners should be encouraged to develop their
aural attention skills and to cultivate an ability to work ‘by ear’.
Where possible, contact time with skilled practitioners should
be available. Learners will benefit from studying the practice
of those currently working in the industry and by attending
workshop sessions during which learners should have the
opportunity to work in a range of musical styles and genres.
Be able to manipulate and develop musical material
spontaneously
Spontaneity is a difficult concept to master since it requires
the musician to reject any sense of pre-planning or
anticipation. It will be useful for learners to be introduced
to exercises that encourage a free response which latches
on to an emotional rather than a musical stimulus. One
way of doing this is for learners to work in pairs with one
learner playing a phrase or idea that is devoid of any colour
or emotion. The second player responds by repeating this
Be able to respond musically to others
exactly as they have heard it. This process may continue for
This is all about giving, taking and sharing musical ideas which some time in the form of ‘musical table tennis’ back and forth
until one or other of the duo feels the moment to be right for
can be a challenge for individuals used to working in solo
the introduction of colour or variation. When this happens it
contexts. Learners could work on sensitivity and cooperation
exercises that will encourage a sense of ensemble playing and must be spontaneous and allow the then answering partner
either to repeat the new form, revert to the old or to take the
will demonstrate the importance of losing the idea of ‘self’ in
musical performance. Learners should be encouraged to listen idea still further. This process of constant repetition will prove
most helpful for freeing up the developmental process and
to good examples of improvisation practice which contain
encourage learners to relax since they only respond differently
vivid examples of musicians passing musical ideas between
themselves. There are many classic but accessible tracks which when they feel the spontaneous desire to do so. Learners
should be given guidance on specific techniques such as
demonstrate this idea such as ‘Duelling Banjos’ for example.
motivic development and working within different musical
Specific improvisational challenges can be introduced in a
styles.
workshop environment with each learner taking a turn at
leading with a musical idea and inviting others (either as a duo
It is also important for learners to acquire a sense of style and
or in larger groups) to pick up the idea and either embellish it
to be able to recognise and reproduce music commensurate
or transform it before passing it back.
with a stylistic intention. Again, perhaps the best way to
achieve this is for the teacher to play extracts which have a
Be able to improvise effectively
clearly identifiable stylistic signature and to invite learners to
This can develop from the workshop process suggested above
express both in words, and musically what it is that uniquely
but at this point learners need to be able to discern between
identifies that style.
communication of simple musical ideas and interpretative
intention where colouration and musicality will come into
play. Clearly, technical skills have an important part to play
but in a sense they are secondary to acquiring an ability to
interpret and communicate the musical qualities (i.e. phrasing/
dynamics/articulation of the music. One way to achieve this
is for the teacher to play a particular idea or phrase, firstly
without any colour and then to impart a clear musical quality
to it.
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Suggested assessment scenarios and guidance on assessment
Assessment and Grading Criteria P1, M1
As part of a duo each learner will take part in an improvised workshop session where they will:
• take the lead in establishing a series of three improvised musical phrases, ideas or motifs
• follow and respond to a series of three improvised musical phrases, ideas or motifs.
The activities above should be recorded onto video for assessment purposes.
For M1 learners should provide a detailed account of the methods and structures used by a peer group. This could be in a
written or recorded format and should include identification of patterns and structures, repeated and/or developed phrases,
use of stimuli.
Assessment and Grading Criteria P2, M2, D1
For P2 each learner will improvise within a given series of three musical templates exploring phrases, ideas and motifs.
For M1 learners should then improvise within the given series of three musical templates developing a range of three given
musical styles.
D1 should be awarded where learners demonstrate accomplished performance skills including:
• an excellent grasp of a range of improvisational techniques
• a consistent sense of style or genre
• effective relationship with fellow performers
• proficient communication with the audience.
Assessment and Grading Criteria P3
As part of a duo each learner will:
• demonstrate an ability to give and receive a series of two spontaneously generated stimuli
• develop or elaborate two spontaneously generated stimuli.
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6
Exploring Musical Improvisation Level 2 Unit 17
Resources
Learners should be given access to keyboards and ideally a range of live instruments.
Books:
The Piano Improvisation Handbook: A Practical Guide to Musical Invention by Carl Humphries
Free to Be Musical: Group Improvisation in Music by Gary McPherson, Lee Higgins and Patricia Shehan Campbell
Complete Method for Improvisation for All Instruments: Book & CD by Jerry Coker
Improvisation for Classical, Fingerstyle and Jazz Guitar by Paul Costello
Some of the many available websites:
http://www.isimprov.org
http://voices.yahoo.com/how-improvise-music-any-instrument-621987.html?cat=33
Freestyle improvisation:
www.youtube.com/watch?v=yzdObs7Wxbo
www.youtube.com/watch?v=kTNnGEFnf3o
http://www.youtube.com/watch?v=Hshtl7SJzls
www.youtube.com/watch?v=2cy1gua2yj0
Links to NOS
Suite
Music Performers and Composers
Ref
CCSMPR28
National Occupational Standard
Perform in a musical ensemble
CCSMPR31
Improvise music
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