IAP ANALYSIS OF SELECTED IMPROVISATIONS
IN GARDSTROM’S INQUIRY:
An Investigation of Meaning in Clinical Music Improvisation
with Troubled Adolescents.

Monograph #4 (Volume One, 2004)

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Excerpt 1—Hayley: H1 Nonreferential Duet

IAP Summary: This was a monothematic improvisation of 1 minute and 30 seconds on two instruments, guiro (Hayley) and bongos (Susan). The texture was two parts for each instrument: a scrape and a tap on the guiro and a scrape and a strike on the bongos.

Rhythmic grounding was highly variable in the first half of the piece. In the second half there was a shared pulse most of the time, and a consistent 6/8 meter was established and maintained until the end of the improvisation. Tempo was fairly stable, except for a slight acceleration in the middle of the piece and a pronounced ritardando at the end.

The rhythmic figure that Hayley established was unchanging. There was high rhythmic variability in my playing.

Volume remained constant until the end, when both of us played a decrescendo. Tension was produced by the lack of rhythmic integration in the first half and the timbre of the scrape on the guiro.

Leadership alternated in this piece; Hayley initiated both changes in tempo and I established meter and initiated the decrescendo at the finale.
IAP Analysis of the Music: Throughout the piece, Hayley seemed to find meaning in maintaining the rhythmic theme (scrape, tap-tap or scrape, tap-tap-tap) that she established at the beginning (RHY VAR-STABLE).

Her theme did not waver, in spite of the rhythmic variability in my playing (RHY AUT–RESISTIVE). Ungrounded at first, Hayley’s rhythmic configuration became more organized half way through the piece, aligning with the pulse (RHY INT-INTEGRATED) and falling more consistently within the meter that I maintained (RHY AUT-FOLLOW).

Hayley did not initiate any changes in volume in her playing (VOL VAR-STABLE). The most noticeable change in volume occurred at the very end when she became gradually quieter in response to my decrescendo (VOL AUT-FOLLOWER).

Hayley initiated both shifts in tempo that occurred (RHY AUT-LEADER, TEM VAR-VARIABLE). These were changes in different directions, with a slight but noticeable accelerando at the midpoint and an emphatic slowing to close the piece. Timbre was stable throughout (TIM VAR–STABLE).

My playing was mostly integrated with the pulse (RHY INT-INTEGRATED), except when I was attempting to align a downbeat with Hayley’s playing (RHY AUT-FOLLOWER) or when I was trying to effect change in her rhythmic pattern (RHY AUT-LEADER). I created many different rhythmic figures during the course of the improvisation (RHY VAR-VARIABLE), and all but one (scratching) were bound to 6/8 time. I slowed my playing in response to Hayley’s ritardando (RHY AUT-FOLLOWER).

My volume was stable (VOL VAR-STABLE), except for the synchronous decrescendo I led at the close of the piece (VOL AUT-LEADER).
My timbre on the bongos was varied (TIM VAR-VARIABLE). The scratching pattern I used was motorically and timbrally analogous to the scraping pattern Hayley used on the guiro (TIM INT–FUSED)

Excerpt 2—Hayley: H3 Solo Referential (“Sadness and Anger”)

IAP Summary: This improvisation was 55 seconds in duration and was based on the referent, “Sadness.” Hayley played the tubano. There was one timbre and one texture represented throughout.

The entire piece was built upon a series of phrases of irregular length consisting of subdivisions on the rim (produced by alternating R-L strikes) followed by an accented strike in the middle of the drumhead. This theme continued without variation and coincided with a pulse only occasionally.
Tempo was moderate and stable, as was overall volume at forte. The piece ended suddenly on the rim, prior to the accented strike. Hayley created tension in the lack of rhythmic integration, the unevenness of the phrase length, and the abrupt ending.

IAP Analysis of the Music. Hayley created a cyclical rhythmic theme that did not vary significantly over the course of the improvisation (RHY VAR-STABLE). She did not relate this theme to a ground with any consistency (RHY INT-DIFFERENTIATED). Her phrase length was highly variable (PHR VAR-VARIABLE). Volume did not change noticeably (VOL VAR-STABLE), nor did timbre (TIM VAR-STABLE).

As I listened to Hayley play, my attention was focused on her use of subdivisions and volume and the cyclical manner in which they created and released tension. The erratic placement and number of subdivisions leading up to the strike served to accumulate tension, and the accented strike itself at the end of each phrase served to release it somewhat (RHY/VOL TEN-CYCLIC). However, because each phrase began immediately after the previous without pause, there was never an overall feeling of tension resolution. The incomplete cycle at the end contributed to the unresolved nature of the piece.

Excerpt 3—Hayley: H12 Duet Nonreferential

IAP Summary: This co-improvisation on the alto metallophone was 3 minutes and 10 sections in duration. It had three main sections. The first and second were delineated by a change in tempo and rhythmic figure, and the second and third were separated by a change in texture (solo-accompaniment) and tonality. In that we were sharing one instrument, one timbre was represented throughout.

In Section 1, Hayley played a series of subdivisions on three adjacent notes in the lowest range of the instrument which were not integrated with a pulse. I played scalar passages on the high notes, also arrhythmic. There was no tonal center. Volume remained constant at a pianissimo level except for a series of repeated, accented forte notes that I played and a synchronous crescendo on another repeated note. At the close of Section 1, I introduced a dotted rhythmic pattern in duple meter. Tension was produced by the lack of rhythmic integration at the start and the unexpected accented notes.

Section 2 was characterized by a slowing from the previous segment along with increasing rhythmic integration with the pulse and between players. Hayley introduced a simple rhythmic motif in duple meter that became the basis for this section. As in Section 1, there was no tonal center. Volume was unchanging at forte.

In Section 3, Hayley played a solo over my accompaniment. These two parts were rhythmically integrated for most of this section. The solo was comprised of subdivisions, played in the middle and upper ranges of the instrument and organized into phrases of consistent length that were separated by an eighth rest. Hayley used intervals of seconds, thirds, and fourths. The solo was tonally differentiated from the accompaniment, an ostinato that was centered on F and C and played harmonically for a few repetitions, then melodically until the end of the piece. Dynamic levels were fused and largely unchanging at mp. Two configurations were represented, single strikes and glissandi.

Hayley determined the tempo and rhythmic figure for Section 2. I led the changes in volume, initiating the crescendo in Section 1, the forte dynamic level in Section 2, and the decrescendo at the conclusion of the piece.

IAP Analysis of the Music: Rhythmic grounding and integration of Hayley’s playing changed as this piece unfolded. Initially, she did not play with a discernable pulse and did not integrate with mine (RHY INT–DIFFERENTIATED, RHY AUT–RESISTIVE). As she moved through the second and final segments, her playing became more rhythmically organized and connected (RHY INT-INTEGRATED). There was little variability in her rhythmic playing, as she used subdivisions from beginning to end (RHY VAR-STABLE). She both responded to the manner in which I used the rhythmic elements (fusing with the underlying pulse provided by the ostinato) (RHY INT-FUSED) (RHY AUT–FOLLOWER) and initiated her own modifications (creation of new rhythmic figure and accompanying change of tempo at Section 2) (TEM AUT-LEADER).

Although Hayley did not play according to a tonal center, per se, there were fleeting moments of tonal alliance with the ostinato accompaniment in the final section (MEL INT-DIFFERENTIATED). She began the piece with a narrow range of notes in a pattern that she had used in previous improvisations. At the conclusion of the improvisation, her melodic statements expanded to include sequences and intervals greater than those she had played in the past. Her repeated notes, less than 30 seconds into the piece, were not only a departure from her personal repertoire, but from the established character of the music (MEL VAR-VARIABLE).

Hayley created tremolos on the interval of a third, which she had not previously done (TEX VAR–VARIABLE). Hayley’s volume levels blended and coincided with mine (VOL INT-FUSED). She followed my changes in dynamics, including the crescendo in Section 1 and the decrescendo at the finale (VOL AUT-FOLLOWER).

In the beginning, my music lacked a pulse (RHY INT–OVERDIFFERENTIATED). With the introduction of the dotted rhythmic figure in Section 1, I became grounded in pulse, tempo, and meter (RHY INT–INTEGRATED). I used a variety of rhythmic figures throughout the piece, but most of these were oriented around subdivisions of the pulse (RHY VAR–VARIABLE). I followed Hayley’s lead into a slower tempo at the start of Section 2 and at the end of the piece (RHY AUT–FOLLOWER).

My playing started out tonally ungrounded (MEL INT–OVERDIFFERENTIATED) but became increasingly grounded as the piece evolved (MEL INT-INTEGRATION). I used a variety of melodic patterns (MEL VAR–VARIABLE).

At one point, I was playing a series of melodic figures centered on F, and when I began the ostinato on F-C and G-C, I was squarely in that key, as reinforced by the tonic-dominant relationship and movement from the second scale degree to the tonic (HAR INT–FUSED).

My volume varied and included both sudden, drastic changes (accented, repeated notes) and predictable, gradual changes (crescendi and decrescendi) (VOL VAR–VARIABLE). There was no change in timbre (TIM VAR–STABLE).

Excerpt 4—Tanisha: T2 Duet Nonreferential

IAP Summary: This nonreferential duet lasted 1 minute and 45 seconds. Tanisha played the metal ganza with the metal striker and I played the doumbek. Tanisha used three playing configurations on the ganza: scraping, striking, and shaking. I used striking and rolling with my fingertips on the rim of the drum. Simultaneous timbres were quite different from one another.

This piece was comprised of both synchronous and antiphonal playing. There were two discrete rhythmic patterns used. Tanisha initiated the first of these, a duple figure comprised of quarter and eighth notes. I introduced the second, an eighth note followed by two eighth rests and two sixteenth notes. Tanisha often filled in the rests with two eighth notes of her own.

Tanisha’s rhythmic variations were minimal in that she mostly played subdivided patterns. My rhythmic variability was moderate. For most of the piece, the rhythms were either fused or integrated with a ground. There were two departures from a stable tempo: a series of slow scrapes that Tanisha played followed by brisk tapping in the original speed, and an accelerando which I initiated shortly thereafter. Volume remained stable at forte.

IAP Analysis of the Music. Tanisha found several ways to create and combine sounds on the ganza (TEX VAR-VARIABLE, TIM VAR-VARIABLE). There was stability in her rhythmic expressions, as reflected in the uniform nature of her patterns (RHY VAR-STABLE), and their fusion or integration with the pulse (RHY INT-FUSED, RHY INT-INTEGRATED). She assumed both leader and follower roles. She established the original tempo and slowed it mid-way through the piece; she also synchronized with my tempo change and rhythms at the very end of the improvisation (RHY AUT-PARTNER).

Like Tanisha, I constructed meaning through rhythmic stability. Although my rhythmic figures were more complex and varied than hers (RHY VAR-VARIABLE), there were no dotted or syncopated values. All rhythmic figures fit neatly into the established duple meter (RHY INT-INTEGRATION) and at times were fused with Tanisha’s (RHY INT-FUSED). As stated above, there was a partnership in that we took equal responsibility for determining tempi (TEM AUT-PARTNER).

Excerpt 5—Tanisha: T6 Solo Referential (“Loneliness”)

IAP Summary: This improvisation was based on the referent, “Loneliness.” Tanisha elected to play the crash cymbal with one felt mallet and one wire brush. She played for 2 minutes and 10 seconds, using two timbres created by three separate playing configurations: a strike with the mallet head, a strike with the brush handle, and a scrape with the brush.

The content of this piece can be described as an even mixture of rhythmic and random play. Sporadically, Tanisha used one distinct duple rhythmic theme, a dotted eighth/sixteenth unit followed by two eighth notes, a quarter note, and a quarter rest. (This figure appeared frequently in Tanisha’s other rhythmic and tonal improvisations.) These rhythmic expressions were grounded in a pulse. In between the figures, she played random strikes and scrapes of varying volume, ranging from pianissimo to mezzo-forte. Tempo was slow overall, but variable.

IAP Analysis of the Music: Meaning was made in the creation of several different kinds of sounds with one instrument (TIM VAR-VARIABLE) at different levels of intensity (VOL VAR-VARIABLE). Tanisha’s playing both coincided with a pulse (RHY INT-INTEGRATED) and did not coincide (RHY INT-OVERDIFFERENTIATED). Although Tanisha did not play in a consistent tempo (TEM VAR-VARIABLE), the overall pace of the piece was slow.

Salient in this improvisation was a lack of salience. That is, each of the musical elements that Tanisha used seemed to contribute equally to the composite sound (TIM SAL-CONTRIBUTING, TEX SAL-CONTRIBUTING, VOL SAL-CONTRIBUTING, RHY SAL-CONTRIBUTING). Also noticeable overall was an accompanying lack of tension (TEN-HYPOTENSE). I had the sense that the music was floating rather than moving forward through time.

Excerpt 6—Tanisha: T7 Duet Referential (“Anger”)

IAP Summary: The referential for this piece was “Anger.” Tanisha played the bongos with rubber mallets, and I played the tubano and crash cymbal with a felt mallet. The “conversation” lasted 1 minute and 5 seconds.

The piece consisted of three brief parts. Section 1 was characterized by a lack of pulse and a series of cymbal crashes followed by both synchronous and responsive sound “spurts” (random hits and quick tremolos ending with accented strikes) on both drums. I established the volume, which remained stable at fortissimo.

I struck the cymbal twice and Tanisha echoed these beats, thereby establishing a pulse that marked the beginning of Section 2. We fused rhythmically and timbrally on the two drums, accelerating slightly through a series of 14 motifs comprised of a quarter note followed by two eighth notes. Tanisha initiated a tremolo, with which I merged.

I began the final section with a series of 5 cymbal crashes, four of which Tanisha played with me. The dynamic level remained at fortissimo. There was no shared pulse in the final moments of the improvisation; my playing was arrhythmic and Tanisha’s was metered. The ending was abrupt. Tension was created in this piece through volume, lack of rhythmic integration, and the harsh timbre of the crash cymbal.

IAP Analysis of the Music: Tanisha’s musical expressions in this improvisation were formed from a mixture of stability and change. Her timbre remained consistent (TIM VAR-STABLE), as did her volume (VOL VAR-STABLE). In Section 2, her unchanging rhythmic figure was fused to an unwavering pulse (RHY VAR-STABLE, RHY INT-FUSED).
Change and unpredictability occurred in Tanisha’s lack of rhythmic integration in Section 1 (RHY INT-DIFFERENTIATED), her movement from a series of simple strikes to a tremolo at the end of Section 2 (TEX VAR-VARIABLE), and her shifts in tempo. Tension appeared in the volume (VOL TEN-TENSE), timbre (TIM TEN-TENSE), and lack of rhythmic stability (RHY TEN-TENSE).

The volume of this piece was salient because of its extreme and unchanging nature (VOL VAR-RIGID). The instruments that I selected were well-suited to loud, accented declarations, and I used them steadily in this manner.

The formal structure of the improvisation was also notable. I contributed to the chaotic character of Section 1 (RHY INT-DIFFERENTIATED), the organized nature of Section 2 (RHY INT-FUSED), and, in that I chose not to align with Tanisha’s measured playing in Section 3 (RHY AUT-RESISTER), the return to disorderliness in the final moments of the piece.
I led in certain aspects of the music (VOL AUT-LEADER) and followed in others (TEX AUT-FOLLOWER).

Excerpt 7—Ralph: R2 Duet Nonreferential

IAP Summary: This monothematic piece was 1 minute and 25 seconds in duration. Ralph played the agogo bells, the soprano glockenspiel with wooden mallets, and the crash cymbal. I played the cabasa and the tubano. Five timbres and eight different playing configurations were represented in all: strikes on the outside and tremolos on the inside of the agogos, strikes on the glockenspiel and cymbal, taps and scrapes on the cabasa, and strikes and tremolos on the tubano.

Ralph alternated between the glockenspiel and the agogos, playing subdivisions and simple rhythmic patterns in duple meter. His playing was grounded in a pulse about half of the time. There was no tonal center and Ralph did not form cohesive melodies on the barred instrument. He played mostly repeated notes and ascending and descending scalar passages, with occasional random intervals of a fourth and smaller. Tempo varied widely.

I played a basic beat and subdivisions, as well as imitated Ralph’s rhythmic figures and created my own. A series of synchronous strikes on the glockenspiel and tubano led to a tremolo on the agogos and tubano and a final forte cymbal crash. Combined volume varied from mezzo-forte to fortissimo, with a crescendo on the tubano during the final tremolo. Tension was apparent in the lack of integration with a pulse and the climactic tremolo leading up to the crash.

IAP Analysis of the Music: In general, Ralph’s playing was highly variable in all aspects except for volume (VOL VAR-STABLE). He used a variety of timbres (TIM VAR-VARIABLE). He created diverse rhythms in many different tempi (RHY VAR-VARIABLE, TEM VAR-VARIABLE). There was no tonal center (MEL INT-OVERDIFFERENTIATED) and no melodies formed. Although there was no definable form to this piece, Ralph imposed structure in that he started the sounds, established the initial tempo, and asserted the cymbal crash as the finale. He followed my tremolo (TEX AUT-FOLLOWER).

I took cues from Ralph, including the starting tempo and subsequent changes (TEM AUT-FOLLOWER) and volume for the piece (VOL AUT-FOLLOWER). I also imitated his rhythms (RHY AUT-FOLLOWER). I launched a tremolo, which Ralph joined (TEX AUT-LEADER). My original rhythmic figures were diverse (RHY VAR-VARIABLE) and my volume fluctuated throughout the piece (VOL VAR-VARIABLE).

Excerpt 8—Ralph: R4 Duet Nonreferential

IAP Summary: Ralph played the bongos, tubano, and cymbal for this improvisation. He chose the doumbek and the soprano glockenspiel for me to play. The piece was 1 minute and 35 seconds in length. Ralph said, “I’ll make three beats and then we start.”

The improvisation was organized into three parts. In Section 1, Ralph established a steady beat on the bongos, punctuated by single strikes on the tubano and cymbal. I played a repetitive rhythmic figure consisting of quarter and eighth notes. Ralph crashed on the cymbal to signal the start of the next section. Volume was stable at forte.

Section 2 was a brief segment during which I created four distinct melodic phrases on the glockenspiel in Phrygian mode and duple meter followed by four ascending glissandi. I used mostly repeated notes and scalar passages. Ralph “accompanied” me on the bongos with what appeared to be a syncopated motif that was only occasionally integrated with my pulse. He provided a second crash to indicate the transition to the final section. The glissandi and the crash were at a fortissimo dynamic level.
The last section began with Ralph playing the pulse lightly on the cymbal while I returned to my previous rhythmic figure on the doumbek. Ralph moved to the tubano and initiated a tremolo. We played a crescendo together, and Ralph ended the improvisation with a single, fortissimo crash.

IAP Analysis of the Music: As in previous improvisations, Ralph experimented with sounds and combinations of sounds throughout this piece (TIM VAR-VARIABLE, TEX VAR-VARIABLE) as well as with changes in the intensity of his playing (VOL VAR-VARIABLE). His rhythms were both glued to a steady pulse (RHY INT-FUSED) and separate from it (RHY INT-DIFFERENTIATED), depending on whether he was directing the outcome of the music or not. A cymbal crash once again took on significance for Ralph, both as a signal to change instruments and as the final climax of the piece (TIM AUT-LEADER).

In Section 1, I assumed the role of rhythmic ground, playing clearly-formulated rhythmic phrases with a steady pulse (PHR INT-INTEGRATED, RHY INT-FUSED). With respect to tempo and volume, there was shared autonomy in this piece. In Sections 1 and 3, Ralph determined the tempo and volume and I followed his lead (TEM AUT-FOLLOWER, VOL AUT-FOLLOWER). In Section 2, I established these elements on the glockenspiel (TEM AUT-LEADER, VOL AUT-LEADER), as well as the meter and phrase length, both of which Ralph resisted (MET AUT-LEADER, PHR AUT-LEADER).

Excerpt 9—Ralph: R5 Solo Nonreferential

IAP Summary: Ralph played this piece on the bongos, tubano, claves, and cymbal. It was 2 minutes in duration. There were three clearly defined sections.

Section 1 consisted of a series of subdivided rhythms on the claves in duple meter. These figures were precisely grounded in a pulse. Tempo did not waver. Volume was constant at forte.

Section 2 was comprised of uneven subdivisions on the tubano and bongos, which Ralph played alternately using one hand for each drum. The section ended with a steady, repeated pattern of eighth and quarter notes followed by a tremolo on the tubano and a crash on the cymbal.

The final section began seamlessly with single strikes on the cymbal in a slow then moderate tempo. Volume was mezzo-piano. Ralph modified the timbre by alternating between the head and the handle of the mallet on the edge of the cymbal. A crescendo over six steady strikes on the cymbal led to an accelerating tremolo on the tubano and a final crash. The piece ended at a fortissimo dynamic level.

Tension was cyclic, with volume and tempo assisting in the accumulation and release of energy.

IAP Analysis of the Music: Ralph’s creation was a sequence of climaxes followed by immediate decreases of sound mass and tempo (VOL TEN-CYCLIC, TEM TEN-CYCLIC). Rhythmic figures were clearly grounded in Section 1 (RHY INT-FUSED), and subdivisions played in remaining segments were occasionally aligned with a pulse (RHY INT-DIFFERENTIATED). Ralph exhibited freedom in his use of dynamics, employing gradual crescendi and decrescendi as well as abrupt changes (VOL VAR-VARIABLE).

What was meaningful for me in this improvisation was the manner in which Ralph integrated simultaneous musical elements of tempo, texture, and volume to produce the desired build-up and release of tension (TEM TEN-CYCLIC, TEX TEN-CYCLIC, VOL TEN-CYCLIC). Furthermore, he capitalized on the timbre of each instrument (TIM VAR-VARIABLE), using the claves to form discrete, “crisp” rhythmic figures, the drums to produce full tremolos, and the cymbal to both build and release tension at critical moments in the improvisation.

Excerpt 10---Chrissy: C3 Duet Nonreferential

IAP Summary: This was Chrissy’s second attempt at her first improvisation with me. In the first trial, she played two distinct rhythmic patterns for 20 seconds, then stopped and declared, “I quit.” She was willing to try again immediately, however, and played the 4-minute improvisation as described below.

This piece was comprised of various sections defined by timbre change. Chrissy began playing the djembe, then added and switched instruments as the piece unfolded. I began with the tambourine and also switched instruments. In all, Chrissy played the djembe, tubano, and handdrum and I selected the tambourine, doumbek, and cabasa.

Section 1 commenced with Chrissy’s clearly formed rhythmic figures, two distinct dotted and syncopated motifs in duple meter. This rhythm was integrated with the pulse most of the time. I played pulse and subdivisions on the tambourine, using “half-note” tremolos (shakes) and strikes on the head. Volume was stable at forte. Tempo was moderate and unchanging. There was a brief pause (Chrissy adjusted the placement of the drum) during which I repeated one of the patterns she had previously stated.
Chrissy added strikes on the tubano in Section 2. She began in a rhythmic fashion, then played a series of random strikes and tremolos of unequal length and placement. I imitated her playing configuration with shakes on the tambourine and provided a pulse each time she returned to rhythmic playing.

The next segment occurred when Chrissy introduced a third distinct and highly-syncopated rhythm. I moved to the doumbek and played pulse, subdivision, and simple duple rhythms. There was a brief period of rhythmic disintegration and then a clear return to Chrissy’s first rhythmic theme in the original tempo. Volume continued at forte.
Chrissy switched to the handdrum and djembe for Section 4. I continued on the doumbek. This section resembled the one before in that we began playing in a rhythmic fashion, lost the beat, then returned to metered playing. There was a period of fusion during which we both played subdivisions. I used accents to define a brief period of 6/8 meter, after which Chrissy returned to her initial dotted rhythm in a slightly quicker tempo. I exchanged the doumbek for the cabasa and tapped the pulse for a few measures until Chrissy ended the piece with random strikes. Volume remained steady at forte.

Chrissy took the lead in this improvisation, determining the beginning, ending, initial tempo, volume, phrase length, and textural changes. Tension in the piece was most evident during periods of rhythmic disintegration.

IAP Analysis of the Music: Chrissy used various musical “voices.” She explored four different timbres, singularly and in combination (TIM VAR-VARIABLE).

Most obvious in this piece was Chrissy’s recurrent use of one particular syncopated rhythmic theme. She introduced this figure in the beginning of the piece and it appeared in each of the three remaining sections. This theme was firmly fused to the pulse (RHY INT-FUSED). There were, however periodic intervals of disintegration (RHY INT-DISINTEGRATED) throughout the improvisation. Often times, when Chrissy’s playing fell away from the pulse, she would create a tremolo that led back into her rhythmic theme.

There were no discernable changes in the intensity of Chrissy’s playing (VOL VAR-STABLE), nor were there significant modifications of tempo (TEM VAR-STABLE).

I deferred leadership of this first improvisation to Chrissy (RHY AUT-FOLLOWER, TEM AUT-FOLLOWER, VOL AUT-FOLLOWER, TEX AUT-FOLLOWER). I did initiate a change in meter from 4/4 to 6/8 time, although this shift was quickly defeated by Chrissy’s restatement of her rhythmic theme.

During much of this improvisation, I functioned to provide a ground for Chrissy’s syncopated figures by maintaining the pulse. I also kept a beat going while she was in transition from one instrument to the next.

Excerpt 11---Chrissy: C11 Duet Referential (“Angry Conversation”)

IAP Summary: This improvisation was based on the referent “Angry Conversation.” Chrissy had been arguing with two of her peers just prior to the session, and she was feeling mad but did not know how to express it.

She played the tubano with felt-headed mallets, and I played the tambourine. We each employed two textures on our instruments: Chrissy used single strikes and tremolos, and I played single strikes and shakes. The piece was monothematic and was 2 minutes in duration. I began and Chrissy ended.

This improvisation can be characterized as a series of random sounds and silences. There was no rhythmic ground, and the pace varied. At times we played in a call-response fashion, imitating the number or character of the other’s strikes. At other times we played concurrently, in “phrases” of unequal lengths. Volume ranged from mezzo-forte to fortissimo.

IAP Analysis of the Music: Chrissy played with great and unrelenting force. Her dynamic level did not vary throughout the piece (VOL VAR-STABLE). Her playing was not grounded in a pulse, and she did not form rhythmic figures (RHY INT-OVERDIFFERENTIATED). Chrissy changed tempi drastically and abruptly (TEM VAR-RANDOM). Her timbre remained consistent (TIM VAR-STABLE).

Although I began at a fortissimo dynamic level, my intensity decreased toward the end of the piece (VOL VAR-VARIABLE). Like Chrissy, I was rhythmically ungrounded (RHY INT-OVERDIFFERENTIATED), and the rate of my expressions changed frequently (TEM VAR-RANDOM).

Excerpt 12---Chrissy: C15 Solo Nonreferential

IAP Summary: This was the only solo nonreferential improvisation that Chrissy played. She constructed this piece on the alto metallophone with rubber-headed mallets. It was 1 minute in duration.

Chrissy played single, even strikes in a slow tempo. Melodic material consisted of steps, small leaps, and repeated notes. There was no steady tonal center, although Chrissy returned to A frequently and outlined an A-minor triad twice during the piece. She held volume constant at mezzo-forte. Tempo varied, with a slight increase at the midpoint and a noticeable decrease paired with a series of subdivided, repeated notes near the end of the improvisation. There was no tension in this piece.

IAP Analysis of the Music: There was a simplicity and calmness to this improvisation, in that Chrissy played in a slow and steady manner and made no significant or abrupt changes to any of the musical elements she employed, including timbre (TIM VAR-RIGID), texture (TEX VAR-RIGID), tempo (TEM VAR-STABLE), and intensity (VOL VAR-RIGID). She used pulse and simple subdivisions exclusively (RHY VAR-STABLE) and used slow, evenly paced strikes unlike the syncopated rhythmic themes that had come to typify her other improvisations (RHY TENSE-CALM).

Finally, because she did not develop melodic figures in a specific tonality, there was an absence of melodic tension (MEL TEN-HYPOTENSE).
I was most struck by the lack of melodic and rhythmic tension in this piece (MEL TEN-HYPOTENSE, RHY TEN-CALM). I also noticed the unwavering volume (VOL VAR-RIGID).

Excerpt 13---William: W1 Duet Nonreferential

IAP Summary: This was our first improvisation together, a monothematic piece lasting 2 minutes and 10 seconds. William played the cabasa and I played the doumbek. The piece was characterized by repetitive rhythmic motifs in duple meter, the first a dotted rhythm established and sustained by William in the very beginning of the improvisation, and the second a subdivided phrase that I initiated, with a slight crescendo and an accent on the final note. Pulse was shared some of the time, but there were several periods of disintegration when one or both of us “lost the beat.” This occurred most frequently when William altered his playing configuration on the cabasa, from tapping the beads, to rubbing the beads, to shaking the entire instrument. Rhythmic variability was low, in that only two discernable patterns were used. The established patterns were played both simultaneously and imitatively.

Overall tempo remained constant. Volume began at mezzo-forte; it increased slightly with the crescendi and decreased to piano when William shifted to shaking the instrument. The piece diminished in rhythmic energy and volume at the end.

IAP Analysis of the Music: William used the cabasa to its fullest expressive potential, creating a variety of independent sounds and combining configurations (scrape-tap, shake-tap) to produce complex timbres (TIM VAR-VARIABLE, TEX VAR-VARIABLE). He was drawn to a rhythmic style of playing and demonstrated his ability to ground his rhythmic figures in a pulse (RHY INT-FUSED). However, he used a restricted range of motifs (RHY VAR-VARIABLE), returning frequently to the dotted rhythm he established at the very beginning of the improvisation.

William played in a consistent tempo, returning to the initial pace after brief periods of rhythmic disintegration (TEM VAR-STABLE). William did not initiate changes in volume; the intensity of his playing varied only in that shaking the instrument produced less volume than other playing configurations (VOL VAR-STABLE). He did not respond to my changes in intensity (VOL AUT-RESISTIVE). He took the rhythmic lead in this improvisation, establishing and re-establishing the tempo (TEM AUT-LEADER) and introducing the primary rhythmic theme, which I both imitated and doubled (RHY AUT-LEADER).

I took my cue from William for many aspects of this improvisation. I conformed to his tempo (TEM AUT-FOLLOWER), and, although I used a variety of rhythmic figures (RHY VAR-VARIABLE), I often “borrowed” his rhythmic motifs (RHY AUT-FOLLOWER). I also imitated his playing configurations, such as scratching the surface of my drumhead to mimic the action and sound of his scraping (TEX AUT-FOLLOWER).

I varied the intensity level of my playing (VOL VAR-VARIABLE), to which William did not respond noticeably.

Excerpt 13 –- William: W2 Duet Nonreferential

IAP Summary: This improvisation somewhat resembled a melodic solo with rhythmic accompaniment, consisting of three sections and a coda. William selected the claves, which he played in one manner, and I chose the soprano glockenspiel, which I played by striking and producing glissandi.

I began the piece with glissandi and repeated notes. William entered on the claves with clicks of variable rhythmic grounding. I continued with scalar passages leading to a series of repeated notes on C, which became established as the tonal center. At this point, we moved from rhythmic contrast and conflict to fusion, and the pulse was shared between us. Volume in this section was steady at mezzo-forte except for one slight crescendo, which I initiated.

Section 2 consisted of melodic motifs in triple meter and centered on C. William supported the melody with a simple pulse. Because there were no discernable accents in his playing, it was unclear whether we shared the meter. I introduced syncopation, and William broke pulse and subsequently paused. After I played two glissandi, William established a subdivided pulse in a slower tempo. Volume was unwavering at forte.
The third section was comprised of more clearly defined melodic phrases, this time in a shared duple meter. William and I used accent and subdivision with the phrase to define meter. The segment ended with a descending scale and an ascending arpeggiated C major chord. Volume was stable.

The coda was marked by a tremolo with a crescendo, which William initiated. I joined with him and then launched into 10 rapid, ascending glissandi at a fortissimo level. William paused during the glissandi, then played a final click to end the piece.

Tension was created by the crescendo in the final tremolo and in the loudness and speed of the final glissandi.

IAP Analysis of the Music: William was both a leader and a follower in this duet improvisation. For much of the piece, he served as the accompanist, providing the rhythmic ground rather than specific rhythmic motifs (RHY AUT-FOLLOWER). He also synchronized with and imitated some of my rhythmic themes (RHY AUT-FOLLOWER). On the other hand, he did establish a change in tempo that defined the third section (TEM AUT-LEADER), and he initiated a tremolo at the end, with which I merged (TEX AUT-LEADER). Furthermore, he defined the finale of the piece.

There were no changes in the intensity of William’s playing, perhaps due to the limited range of volume possible on the claves (VOL VAR-RIGID).
In this improvisation, I found meaning in musical variety, exploring many options within each of the musical elements. First, my playing configurations were diverse in that I employed single strikes, tremolos, and glissandi (TEX VAR-VARIABLE). I used the full range of pitches on the instrument, as well as a variety of means to establish and maintain a clear tonality (MEL INT-UNDIFFERENTIATED), such as playing repeated notes on the tonic, using scalar passages that terminated on C, and stressing the dominant-tonic relationship. I created an assortment of melodic and rhythmic figures in two different meters (MEL VAR-VARIABLE, RHY VAR-VARIABLE, MET VAR-VARIABLE). Finally, I used a wide range of dynamics, with both gradual and abrupt changes (VOL VAR-VARIABLE).

Although I took musical initiative in this piece, I also deferred to William’s tempi and changes therein (TEM AUT-FOLLOWER).

Excerpt 14--William: W6 Solo Referential (“Annoyed”)

IAP Summary: This improvisation was 2 minutes and 10 seconds in duration and was based on the referent “Annoyed.” William stated that he had been “pretty happy” until he had become annoyed at a peer in the treatment program before the session. He played the alto metallophone with rubber-headed mallets in three ways: single strikes with open and muted bars, and a glissando.

William’s playing was continuous. Sometimes he played in random pitch sequences, and sometimes he played identifiable rhythmic motifs within discernable meters. Two of the recurrent motifs were highly syncopated.
There was no tonal center, and William did not create cohesive melodies. His tonal material consisted of small and large leaps and repeated notes. Tempo was variable, as was volume, ranging from piano (glissando) to forte. William ended the improvisation with a slow, muted descending scale and a barely audible glissando.

IAP Analysis of the Music: William represented this referent through constant, uneven rhythmic motion. Most of his playing did not conform to a consistent pulse (RHY INT-DIFFERENTIATED), and tempo changed frequently (TEM VAR-VARIABLE). William used a variety of rhythms (RHY VAR-VARIABLE), repeating two distinct rhythmic motifs in two different meters (MET VAR-VARIABLE), both of which had manifested as themes in previous improvisations (RHY VAR-STABLE). His volume changed noticeably when he muted the bars and with the final glissando (VOL VAR-VARIABLE, TEX VAR-VARIABLE). There was no tonality established (MEL INT-OVERDIFFERENTIATED).

As I listened to William play this improvisation, the lack of consistent pulse was salient (RHY INT-DIFFERENTIATED), as was the use of both familiar and new rhythmic motifs (RHY VAR-STABLE, RHY VAR-VARIABLE). I noted William’s change of playing configuration (TEX VAR-VARIABLE) and the resulting change in timbre (TIM VAR-VARIABLE).

Excerpt 15 William W7 Solo Referential (“Sad”)

IAP Summary: This referential improvisation was 2 minutes and 20 seconds in length and was based on the referent “Sad,” which William selected. It was a monothematic “soundscape” consisting of scrapes and taps on the guiro. William established no discernable pulse, nor did he use specific rhythmic patterns.

The tempo of William’s scraping was highly variable, as was the volume, which ranged from pianissimo to fortissimo. Changes in speed and volume were both abrupt and gradual.

Near the end of the piece, William employed the rainstick, tilting it randomly. He ended the improvisation with a tap on the guiro and a thud of the rainstick on the floor. Tension was created in the lack of pulse and abrupt changes in tempo and volume (RHY TEN-TENSE, TEM TEN-TENSE, VOL TEN-TENSE).

IAP Analysis of the Music: There was no relationship between William’s playing and an underlying pulse (RHY INT-OVERDIFFERENTIATED). In a sense, this aspect enabled him to make frequent and extensive modifications to the rate of his playing (TEM VAR-CONTRASTING) and to turn his attention to nonrhythmic expression. He used both instruments in multiple ways to produce multiple timbres (TEX VAR-VARIABLE, TIM VAR-VARIABLE), and he varied volume greatly and randomly (VOL VAR-RANDOM).

I found the contrasts in this piece most meaningful. William employed drastic changes in tempo and volatile changes in volume (TEM VAR-CONTRASTING, VOL VAR-RANDOM).

Excerpt 16---Erica: E 10 Solo Referential (“Night Fear”)

IAP Summary: The referent for this improvisation was “Night Fear.” This is a monothematic improvisation of 4 minutes and 20 seconds based on Erica’s feelings of terror the night before the session. She used the tubano with soft mallets and did not vary her timbre or texture significantly.

The entire piece was characterized by Erica’s use of subdivisions of various tempi. These subdivisions included simple divisions of the basic pulse and accents. Initially periodic, these accents helped to define duple meter; eventually they were erratically placed. Erica’s beating was integrated with a pulse only some of the time.

Erica modified her volume only slightly, with a small decrescendo in the middle and near the finale.
Erica’s noticeable changes in tempo included a gradual acceleration of subdivisions into a tremolo and alternating accelerandi and ritardandi to close the piece.

IAP Analysis of the Music: Erica’s use of near-constant subdivisions (RHY VAR-STABLE) indicates that she found some meaning in the accumulation of tension that occurs when the pulse is doubled (RHY TEN-TENSE) and in the physical energy required to sustain this. Further contributing to the tension in the music was the overall lack of rhythmic integration with a pulse (RHY INT-DIFFERENTIATED). A decrescendo coupled with a ritardando at the very end of the piece (TEM VAR-VARIABLE) served to bring natural closure to this sustained intensity of energy.

Once Erica began to play, it seemed to me that the piece resembled many of her previous improvisations: Her playing was not grounded in a consistent pulse (RHY INT-DIFFERENTIATED); there was little rhythmic variability (RHY VAR-STABLE); and I could apprehend only slight nuances of change in dynamics, timbre, and texture (VOL VAR-STABLE, TIM VAR-STABLE, TEX VAR-STABLE).

I experienced a high degree of tension created by the ungrounded subdivisions and random accents (RHY TEN-TENSE), and in the unpredictable changes in tempo (TEM TEN-TENSE).

Excerpt 17---Erica: E11 Solo Referential (“My Safe Place”)

IAP Summary: “My Safe Place,” 2 minutes and 50 seconds in duration, was a monothematic piece built upon a referent that had its genesis in the previous improvisation (see “Night Fear” above). Erica played the rainstick and the soprano glockenspiel with a wooden mallet. Two timbres were represented, with one playing configuration for each.

Characterizing this piece were phrases of varying lengths comprised of groups of adjacent notes and skips of a third. There was no tonal center and Erica did not form cohesive melodies. After about 50 seconds, she moved from rhythmic disintegration to the establishment of a fairly consistent underlying pulse that continued almost to the finale. A repetitive duple rhythmic figure made up of dotted quarter notes and eighth notes emerged and appeared occasionally.

The rainstick sounded randomly at a piano volume level throughout the piece, which was aborted due to an interruption in the room. Overall volume was fairly stable at mezzo-forte. Tempo remained constant. The piece ended abruptly due to an interruption in the room.

IAP Analysis of the Music: Erica used two distinct timbres in this piece, with the rainstick serving as an occasional ground to the tonal figures produced on the glockenspiel (TIM INT-DIFFERENTIATED). Although disintegrated at first (RHY INT-DIFFERENTIATED), Erica’s rhythmic expressions became connected with a pulse and remained so for most of the improvisation (RHY INT-INTEGRATED). Her phrase length was variable (PHR VAR-VARIABLE).

Erica did not use variety in her melodic constructions (MEL VAR-STABLE), playing mostly adjacent notes in two-note groupings. These expressions were not grounded in a particular tonality (MEL INT-OVERDIFFERENTIATED) although they fell within the chromatic scale afforded by the instrument (MEL INT-FUSED). Erica did not vary volume to any significant degree (VOL VAR-STABLE).

I was particularly aware of Erica’s lack of tonal ground in this piece (MEL INT-OVERDIFFERENTIATED). I also noticed that her intervallic patterns were narrow and mostly unchanging (MEL VAR-STABLE).

Excerpt 18---Erica: E13 Duet Nonreferential

IAP Summary: This was a duet of considerable length (8 minutes and 40 seconds) that occurred during our fourth session. Erica played the doumbek with rubber-headed mallets and I played the tubano.
Erica stated that she needed “a beat to play on.” I thus began the improvisation by providing a rhythmic ground (one half note followed by two quarter notes) in a moderate tempo. Throughout the piece, I sustained the ground by playing pulse, subdivisions, and simple rhythms in duple meter such as an eighth note and two sixteenth notes followed by two eighth notes, a quarter note, and a quarter rest. I consistently accented the first and/or third beats of the pattern.

Erica also played pulse, subdivisions, and rhythmic themes in duple meter. During the piece, our playing was mostly undifferentiated, fused, and integrated, although there were periods of extreme rhythmic differentiation during which time I continued to play the basic pulse. There were also incidences of rhythmic imitation.

Tempo remained generally steady throughout. Volume remained steady at forte. Tension in the piece came from the sustained subdivisions and moments of separation from the underlying pulse.

IAP Analysis of the Music: Erica found meaning in attempting to allign with the pulse as I established it (RHY AUT-FOLLOWER) and in sustained repetition of simple rhythmic patterns (RHY VAR-STABLE). Her playing configuration remained constant (TEX VAR-STABLE), and she did not vary her intensity significantly (VOL VAR-STABLE).
I created meaning in the origination and maintenance of the underlying beat of the improvisation (RHY AUT-LEADER). All aspects of my music-making were steady: tempo (TEM VAR-STABLE), rhythmic figures (RHY VAR-STABLE), meter (MET VAR-STABLE), timbre (TIM VAR-STABLE), texture (TEX VAR-STABLE), and volume (VOL VAR-STABLE).