TECHNIQUES FOR LEARNING COMPOSITIONAL IMPROVISATION TEMPLATES For these templates, one motive is presented in three different scales for every key. The performance ideal is a kind of "written improvisation", where the eye moves randomly around the page playing what comes to hand, and also randomly mixing and matching material between treble and bass clefs in a system. The templates are designed so that everything in the bass clef of a scale may be played effectively with everything in the treble clef of the same scale. * Because of the lack of measures key signatures persist through a scale, but accidentals only apply to the attached note, and the corresponding clef. Frequent courtesy accidentals are included, without parentheses to save horizontal space. Knowledge of the included scales--especially the octotonic due to frequent chromatic alteration of the key--will be invaluable in reading these templates. The listed octotonic scale always begins with a half-step (for C: the notes c, c#,d#, etc.). Since these templates are not meant to be read in a linear fashion, certain customary symbols have been left off: brackets, bar lines, beams, etc. Ultimately, they are meant to be a mix and match affair. The treble clef outlines the basic melodic cells in red, with idealized harmonizations in the bottom voice in black. These idealized harmonizations are also shown in a variety of rhythmic displacements to show the different possibilities inherent in harmonic rhythm. The octotonic version of the melody has two harmonizations; the first one dense, the last one simpler. Since the dense harmonizations are ultimately more useful, they have been included first. Reminder: all chords and motives may be played in any octave. (See score for further information)
