Some concepts for improvisation from a project of Rotterdam Improvisation Pool. Originally conceived for winds but also suitable for strings or voices.
    Peter Sterk 2004

1 Long Harmonies

Play only long tones (breath out totally every tone, or play a whole bowing). Concentrate on harmonies that arise.
Choose consciously for the moment of the start of each note and its character.
The amount of tones that sound together and the dynamics vary.

2 Pulsating Harmonies

Play short tones, repeated in a fixed tempo. The pitch changes only sometimes. Mark a new pitch with an accent.
Nrs. 1 and 2 can be combined.

3 Broken Harmonies

Play short tones and sometimes a longer one. Try to avoid your tones sound together with others. So when a long tone sounds, other players wait with their short ones. Exception: sometiflfl&s a long tone can be supplemented by other long tones. Vary in density and dynamics.

4 Complementary Polyphony

The material consists of very quick tones and very long tones.
General rule: you can play quick tones until somebody else starts playing quick tones. Then you play a long tone or stop playing.
Everybody can at any moment start playing quick tones. The others have to react immediately.
When two people at the same time start playing quick tones: go ahead but react on quick tones played by a third person.

2) A game by Daisuke Terauchi:

Strolling game

Daisuke Terauchi

This improvisation game is for 4~6 performers with mobile instruments (including the voice).
It must be performed in an area large enough to allow the performers to stroll around the space.

1. Each performers must prepare a ostinato-like figures they will perform in advance.

2. All performers start to play at the same time and begin walking around.

3. While walking around, the performers change their ostinato-like figures gradually (they must not move from figure to figure suddenly).

4. At some point they will each meet another performers. At this time they should stand in front of each other, playing their figures until they have become clear to each other. Then they exchange figures (one player starts to play the figure of the other player and vice versa). After this they walk around freely again. In the case in which direct imitation is very difficult, the performers should try to the best of their ability to imitate the other performer's figure.

5. Any performer who feels like finishing may stop playing and walking.

6. When the last player finishes performing the game is over.

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