Y. P. Guide
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is available direct from E.H.P. Productions for $15.00. The book is a player's introduction to many different styles that through the years have been heralded as "avant-garde" and to this day still remain on the fringe (or completely outside) of mainstream music: Minimalism to Non-idiomatic Free Improv; pieces similar to John Zorn's Naked City to Sun Ra's work with his Arkestra; Two Boud Deun charts and many other pieces that fall under the term "experimental". · 12 original compositions to help you get started understanding the world of experimental and free improvisational music. · Unusual musical techniques, ideas and exercises to explore on any instrument. · Compositional techniques to get you started writing your own music. · An extensive reading list & recommended listening list to start your own avant-garde music collection. The Young Person’s Guide to Free Improvisation and Experimental Music is a music workshop, as well as an instructional book, I have developed for all instruments, playing levels and ages. If you or your organization is interested in having this workshop presented at your school or arts center please contact me at: The Young Person’s Guide to Free Improvisation and Experimental Music was developed to teach that music is not just about technique and notes on a piece of paper but also about creativity, imagination and freedom of expression. At the same time it introduces the mainstream music listener to forms of music they may not usually be exposed to, either in a school music program or in the world of commercial music i.e. radio and television. The program is made up of twelve different pieces ranging from non-idiomatic (no particular style) Free Improvisation to Minimalism, and in the styles of such diverse composers and musicians as Ornette Coleman and Philip Glass. Any instrument or combination of instruments, from a soloist to full orchestra, jazz trio to string quartet, rock band to choir, and any and all other ensembles can perform the pieces that make up the program. All of the pieces have charts for the musicians to follow but these are open to creative interpretation. Any conductor, teacher or musician has the liberty to modify the chart according to the ability of each individual performer, by making the part easier or more difficult. This artistic license emphasizes the freedom inherent to the work. Free Improvisation and experimental music is based on taking risks and trying new things. The music written for this program is not about being the best technical musician or playing the prettiest music; it is about creativity, freedom within a structure, open ears and open minds. Ultimately, this program is about having fun with your instrument no matter what your playing level. The idea for the Y.P.G. was conceived after I attended my first American Composers Forum meeting in Washington D.C. in the spring of 1999. I went looking for funding for…well honestly, for anything! I had a number of different projects I was working on but no capital to advance them beyond the written page. I was blunt, “I’m looking for money.” “We have a lot to offer,” I was told, “if you do a community related project.” At first, the idea of doing music for the general population did not thrill me. I had always been interested in “weird” and wholly non-commercial music, whether it be early 80’s punk rock, Frank Zappa, Sun Ra or Schoenberg. The term “community related” sounded like anything but those artists. Then it hit me, why not develop a program to teach the general public about those “weird” musicians and composers? And what better community to start with than children! Education is a key to breaking down ignorance and prejudices. And experimental music can be fun! Anyone can do it. All you need is a little understanding and an open mind. Children tend to have a broader scope of art is than most adults do. They are more accepting of the unusual and unique when it comes to art. They have not formed the prejudices that many adults have against music: “I don’t like…(a certain style of music)”, “That sounds out of tune.”, “They’re not playing in tempo.”, “What key are they playing in?” or “That sounds like noise. My kid could do that.” Now your kid gets to! And if you’re lucky so will you. As I’ve said, and as the name implies, the first notion I had about this project was to gear it towards children. Yet as I sat down to develop it I found that the language I was writing in (both verbally and musically) would translate to all ages and all levels of musicians. Jonathan Matis, head of the DC chapter of the ACF agreed. Jonathon helped me get the funding and find the community partner I needed to help develop this project. The Sitar Center in Washington DC, a community arts center, was to be my main experimenting grounds. I spent three weeks there in the summer of 2002 working with several different students to see what ideas, concepts and language worked best for the text of this program. Prior to my three weeks in Washington, I also conducted a one-week workshop, based on the same ideas, at The National Guitar Workshop in New Milford, CT. It was this initial workshop that truly started the music rolling. At N.G.W. I was able to work with players of all levels and backgrounds, and all ages: young children, teenagers and adults. I also worked with more musicians of all ages and levels that summer at Drum & Strum Music in Warrenton, VA. There, I led a five-day workshop that was open to the public at large. Besides having seasoned players show up, I also had folks who had never played an instrument in their lives! It was amazing to see how all levels of attendees were both comfortable and challenged by the music. The book is a result of all of these workshops, personal research, help from the experimental and free improvisational music community around the world and my own personal style and leanings in the realm of experimental music. |