Unit 12:

Improvising Music
Unit code: Y/600/6948
QCF Level 3: BTEC National
Credit value: 10
Guided learning hours: 60

Aim and purpose

The aim of this unit is to develop the ability of performing musicians to improvise in a range of musical
contexts.

Unit introduction

Improvisation is the composition of music in real time. Almost all styles of music feature some form of
improvisation. In order to improvise successfully learners must first gain an understanding of the defining
elements of improvisation in a range of genres.

It is essential that learners do not feel restricted by technical limitations when improvising in response to
musical stimuli. They should, therefore, develop appropriate techniques as part of their personal practice
routine and rehearsal schedule.

The performing of improvisation can take place in a solo and group context. Learners should be
encouraged to improvise stylistically appropriate contributions in a range of musical situations and genres,
as a natural part of their music making.

The emphasis of this unit is on improvisation across a range of musical styles. For learners who wish to
focus solely on jazz improvisation Unit 13: Improvising Music in a Jazz Style can be offered as an alternative,
or it can be studied in addition to this unit.

Learning outcomes

On completion of this unit a learner should:

1 Understand the stylistic elements of improvisation across a range of musical genres

2 Be able to develop instrumental or vocal techniques appropriate for improvisation in contrasting

styles

3 Be able to improvise music in response to a stimulus in contrasting styles

4 Be able to improvise music responding to other musicians.

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Unit content

1 Understand the stylistic elements of improvisation across a range of musical genres

Stylistic elements: musical elements eg rhythmic, melodic, harmonic, tonality, lyricism; sonic trademarks
eg distortion of guitar amps, effects, synthesiser sounds, vocal effects

Stylistic interpretation: artistic phrasing and detail; appropriate stylistic requirements of the music eg
note choice, groove, instrumentation, choice of musical equipment, use of effects, performance attitude

Genres: different musical genres that have specific styles of improvisation eg blues, jazz, R and B,
country and western, rock, metal, reggae, funk, soul, classical

2 Be able to develop instrumental or vocal techniques appropriate for improvisation in

contrasting styles

Developing: types of rehearsal eg group rehearsal, personal practice, jamming sessions, workshops,
master-classes

Techniques: eg working from lead sheets, solo breaks, extemporisation, phrasing, note choice, call and
response, groove, instrumentation, choice of equipment

Styles: different musical genres that have specific styles of improvisation eg blues, jazz, R and B, country
and western, rock, metal, reggae, funk, soul, classical

3 Be able to improvise music in response to a stimulus in contrasting styles

Stimulus: sheet music eg lead sheet, written part, chord chart, score; aural stimulus eg rhythmic,
melodic, harmonic, tonal, lyrical; sonic trademarks

Styles: different musical genres that have specific styles of improvisation eg blues, jazz, R and B, country
and western, rock, metal, reggae, funk, soul, classical

4 Be able to improvise music responding to other musicians

Responding to other musicians: communication eg call and response, imitation, interplay, counterpoint;
collective musical decisions eg choosing material, choosing key signature, tempo, dynamics, structural
decisions

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Assessment and grading criteria

In order to pass this unit, the evidence that the learner presents for assessment needs to demonstrate that
they can meet all the learning outcomes for the unit. The assessment criteria for a pass grade describe the
level of achievement required to pass this unit.

Assessment and grading criteria

To achieve a pass grade the To achieve a merit grade the To achieve a distinction grade
evidence must show that the evidence must show that, in the evidence must show that,
learner is able to: addition to the pass criteria, in addition to the pass and
the learner is able to: merit criteria, the learner is
able to:
P1 explain the stylistic M1 illustrate the stylistic D1 analyse the fundamental
elements of improvisation elements of improvisation stylistic elements of a wide
across a range of musical across a range of musical range of musical genres
genres genres
[IE, RL, SM]
P2 develop instrumental M2 develop instrumental D2 develop instrumental
or vocal techniques or vocal techniques or vocal techniques
appropriate for appropriate for appropriate for
improvisation in contrasting improvisation in contrasting improvisation in contrasting
styles styles competently styles with confidence and
[CT, RL, SM, EP] flair
P3 improvise music in M3 improvise music in D3 improvise music in
response to a stimulus in response to a stimulus response to a stimulus
contrasting styles in contrasting styles in contrasting styles with
[CT, RL, TW, SM, EP] competently confidence and flair
P4 improvise music M4 improvise music D4 improvise music
responding to other responding to other responding to other
musicians. musicians competently. musicians with confidence
[CT, TW, SM, RL] and flair.

PLTS: This summary references where applicable, in the square brackets, the elements of the personal,
learning and thinking skills applicable in the pass criteria. It identifies opportunities for learners to
demonstrate effective application of the referenced elements of the skills.

Key IE – independent enquirers RL – reflective learners SM – self-managers

CT – creative thinkers TW – team workers EP – effective participators

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Essential guidance for tutors

Delivery

The majority of this unit should be delivered through practical opportunities. Learners will need to attend
regular rehearsals, jamming sessions and workshops as well as final performances, where appropriate.
Tutors will need to guide learners in the formation of ensembles and the selection of appropriate material
to ensure the continuous development of technique and musicality. To ensure learners perform material in
a range of contexts, tutors must ensure that they are guided as to the opportunities available, for example
a series of performances themed around different genres, preceded by structured rehearsals/workshops
and supported by personal practice.

When delivering this unit, tutors will be faced with the task of ensuring that a range of instrumentalists and
vocalists can work alongside each other. Tutors are encouraged to give learners a wide range of genre-
related examples of improvisation that clearly display defining stylistic characteristics.

Tutors should ensure that learners are exposed to working musicians as much as possible to appreciate
the importance of improvisation in all styles of music. Workshops and/or master classes should be provided
so that visiting musicians can have a direct influence on the development of this aspect of learners’
musicianship.

It is important that the tutor directs learners and focuses their development and performances on key
detail, and it would be beneficial to concentrate on stylistic authenticity in every aspect of improvisation.
The subject area is potentially so vast that the tutor will need to set parameters and guide learners towards
a selection of musical genres. Each learning outcome reflects the importance of this ‘range’, and this must
be carefully controlled with reference to the assessment guidance.

Learners are required to recognise, and therefore gain an understanding of, the key stylistic elements
of improvisation in each genre they study. One way of doing this is to listen to examples so that learners
understand the ‘sound’ of improvisation in the genre. They can then separate each element of the piece,
eg separating rhythmic devices from melodic devices, and from instrumentation and effects, which will
allow them to see how the elements combine to make the improvisation recognisable as representative of
the genre.

Learners are not obliged to treat learning outcome 1 as an entirely theoretical exercise preceding any
practical work. The analysis that learners perform as a natural part of the work they carry out for learning
outcome 2 could form the basis for the work presented for learning outcome.

For the development of appropriate technique, as well as scales, arpeggios and generic exercises, tutors
may wish to provide learners with a selection of specific improvisations to recreate as musical studies.
This gives learners opportunities to work on their technical skills in order to recreate what they hear. This
technique and the accompanying knowledge of musical theory can then be applied when improvising in
practical workshops or jamming sessions.

Learners are required to improvise in a manner that is stylistically accurate to the genre. This may be
achieved by working with either existing or original material. There are several ways in which learners may
develop material. For example, they may aurally analyse a piece and then develop stylistically accurate
improvisations within a group context. Alternatively, learners may develop original material but again the
improvisation should be in the style of the chosen genre. Peer identification and feedback of the material
produced would be one way of identifying whether learners have developed something that is stylistically
accurate. This process should be supplemented by structured personal practice.

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Learners will be required to demonstrate that they have reached a standard where they can contribute
improvisations in a performance situation and in a range of musical genres without the need for lengthy
rehearsals. It is likely that this will take place towards the end of the course, where learners have developed
appropriate skills through personal practice and rehearsals/workshops. Solo performances can be given
but it should be noted that group performance is also required to meet learning outcome 4.

Outline learning plan

The outline learning plan has been included in this unit as guidance and can be used in conjunction with
the programme of suggested assignments.

The outline learning plan demonstrates one way in planning the delivery and assessment of this unit.

Topic and suggested assignments/activities and/assessment

Introduction to the programme and structure of the programme of learning.
Understanding the components of improvisation – learning outcome 1:
z identifying genres
z analysing recordings
z analysing performances from video
z identifying stylistic elements
z analysing stylistic interpretation.
Assignment 1: The Elements of Improvisation – P1, M1, D1
z Learners to prepare written work/presentations.
z Learners to give presentations, if appropriate.
Developing techniques for improvisation – learning outcome 2:
z personal practice (unguided) – 20 hours
z rehearsals (unguided) – 20 hours
z rehearsals/workshops (guided) – 10 hours.
Assignment 2: Preparing to Improvise – P2, M2, D2
z Observed rehearsal/workshops.
Improvising in performance – learning outcomes 3 and 4; rehearsal (not assessed) events could include:
z recording sessions
z workshops
z live events (solo and group performance).
Assignment 3: Improvising in Contrasting Styles; observed events could include
P3, M3, D3, P4, M4, D4
z Recording sessions.
z Workshops.
z Live events (solo and group performance).

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Assessment

This unit requires the musician to actually play or sing, and create improvisations in the chosen styles.
Written work should be minimised. Performance situations can be many and varied but it should be
remembered that it is the practical understanding of improvisation and the supporting stylistic detail that is
being assessed rather than performance skills, which are examined in other units. Therefore, a technically
successful improvisation that bears little relation to the genre of the chosen piece will not achieve the
higher grades.

The practical evidence required for this unit will be generated by practice, rehearsal and performances
of material from different genres. Assessment evidence could be captured through classroom activity,
workshops, rehearsals, and personal practice, as well as during a public performances or studio-based
recording sessions. The practical performances should be recorded or captured on video to provide both
the required evidence and a basis for feedback and discussion with learners.

Learning outcome 1 could be evidenced through a written report, but the nature of evidence required for
higher grades suggest that giving a recorded oral presentation using suitable software might be a more
appropriate method of assessment. It is up to the course leader to decide the most appropriate option for
the learning styles of each cohort. For P1, learners will provide simple unelaborated explanations of the
musical elements contributing to the improvisation across a range of appropriate musical genres. To satisfy
the requirement for a ‘range’, learners should be asked to provide evidence for three musical genres. To
meet M1, they will elaborate their explanations with reference to suitable examples. For D1, learners will
assess the relative importance of each example component, and the contribution it makes to the genre
from which it is taken. Cross-referencing to other genres could also be used to support their arguments.

Learning outcomes 2 and 3 require learners to demonstrate that they know and can perform the
fundamental elements of the improvisation in the genres studied, and can reproduce the essence of them
in a practical context.

Learning outcome 2 requires learners to take part in workshops or jamming sessions. If a workshop
approach is used, this may be led by a visiting musician or the tutor. Whether a workshop or jamming
session is used, the following key points must be addressed for assessment purposes:

z the session must be captured on video

z each learner must have the opportunity to improvise.

To meet P2 the evidence will show that learners have developed stylistically appropriate techniques
for improvisation through personal practice and participation on workshops/rehearsals. The use of the
word ‘contrasting’ in the learning outcome/grading criteria implies that a minimum of two contrasting
styles should be developed. Merit level learners’ contributions to rehearsals/workshops will be clearly
recognisable as examples of the chosen genres. Distinction level learners will contribute to the workshop
or jamming session in a way that is not only stylistically accurate but also shows musical flair. Their
contribution will show they have understood the finer performance details of improvisation in the chosen
genres.

To meet learning outcome 3, learners will demonstrate that they can improvise in a performance situation,
given the stimulus appropriate to the chosen style (for example – graphic score, lead sheet, a motif played
by another band member, and so on). Capturing on video is the most effective way to evidence this
outcome.

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Performance situations could include studio-based recording sessions and live performances. Where the
learning outcome refers to ‘contrasting styles’ this should be taken as a minimum of two. To meet P3,
the evidence will show that learners have contributed improvisations to each performance situation in a
way that did not detract from the overall effect. Evidence for M3 will show that learners contributions are
clearly recognisable as examples of the chosen genre, demonstrating appropriate ‘substance’ (duration
and musical content). To achieve D3, learners will have a mastery of appropriate musical skills to a degree
where they can contribute to each performance with creativity and flair.

It is likely (but not essential) that learning outcome 4 will be met in the same performance situation(s) as
learning outcome 3, and they are easily combined into a single assignment. To meet learning outcome 4
the evidence will show that the learner is interacting with other musicians, and it is possible to separate the
two learning outcomes by setting up separate solo and group improvisation performance opportunities.
To meet P4, the learner will be responding to other musicians while improvising in a way that does not
detract from the performance. An improvisation that evidences clear communication with other musicians
in a way that is beneficial to the performance will meet M4. To meet D4 the improvisation will demonstrate
imagination, flair and creativity that could take place only with a confident level of communication between
musicians.

Programme of suggested assignments

The following table shows a programme of suggested assignments that cover the pass, merit and
distinction criteria in the grading grid. This is for guidance and it is recommended that centres either write
their own assignments or adapt any Pearson assignments to meet local needs and resources.

Criteria covered Assignment title Scenario Assessment method

P1, M1, D1 The Elements of Analyse improvisations Written piece or individual
Improvisation from a range of musical presentation to include
genres (minimum of three) audio examples.
identifying musical elements
and interpretive devices that
define each style.
P2, M2, D2 Preparing to Improvise Personal practice and group Evidence to include:
rehearsals are required to
z video evidence of
prepare for performance
rehearsal.
(see P3, M3, D3, P4, M4, D4
below).
P3, M3, D3 Improvising in Participate in one or more Evidence to include:
Contrasting Styles performances in which
P4, M4, D4 z video evidence of
learners will improvise in
performance.
contrasting (at least two)
styles.
Alternatively, this assignment
could be split into a solo
performance (P3, M3, D3)
and a group performance
(P4, M4, D4).

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Links to other BTEC units

This unit forms part of the BTEC Music and Music Technology sector suite. This unit has particular links with
the following unit titles in the BTEC Music and Music Technology suite:

Level 1 Level 2 Level 3

Music Performance Techniques

Pop Music in Practice
Working and Developing as a
Musical Ensemble
Live Music Workshop
Improvising Music in a Jazz Style
Solo Music Performance Skills

Essential resources

Learners will need access to adequate practice and rehearsal facilities, with instruments and equipment of
suitable quality, where learners do not supply them. Opportunities for workshops and/or master classes
will need to be provided with a reasonable timescale that fits the delivery of the unit. An appropriate range
of workshops/master classes and jamming/rehearsal opportunities will need to be provided to cater for the
needs and interests of the whole group. Where facilities do not exist within the institution to offer a range
of performance situations, arrangements will need to be made with external organisations such as theatres
and recording studios in order to provide a suitable range of performance situations.

Classroom resources that allow the viewing of video material, and monitoring of audio examples, together
with suitable word-processing or presentation software will also be needed. Access to a wide range of
historically and culturally important music (as audio and video resources) will also be needed.

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Delivery of personal, learning and thinking skills (PLTS)

The table below identifies the opportunities for personal, learning and thinking skills (PLTS) that have been
included within the pass assessment criteria of this unit.

Skill When learners are …

Independent enquirers analysing improvisations in various styles
Creative thinkers improvising in rehearsal and performance
Reflective learners monitoring their own progress when practising
Team workers rehearsing with others
Self-managers organising a personal practice routine
Effective participators rehearsing with others.

Although PLTS are identified within this unit as an inherent part of the assessment criteria, there are further
opportunities to develop a range of PLTS through various approaches to teaching and learning.

Skill When learners are …

Independent enquirers researching different styles of improvisation
Creative thinkers developing practice routines for improvisation
Reflective learners responding to feedback from instrumental tutors
Team workers planning performance repertoire
Self-managers organising rehearsals
Effective participators playing in a recording session.

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 Functional Skills – Level 2

Skill When learners are …

ICT – Find and select information
Select and use a variety of sources of preparing written piece/presentation
information independently for a complex
task
Access, search for, select and use ICT- preparing written piece/presentation
based information and evaluate its fitness
for purpose
ICT – Develop, present and
communicate information
Enter, develop and format information preparing written piece/presentation
independently to suit its meaning and
purpose including:
z text and tables
z images
z numbers
z records
Bring together information to suit content preparing written piece/presentation
and purpose
Present information in ways that are fit for preparing written piece/presentation
purpose and audience
Evaluate the selection and use of ICT tools preparing written piece/presentation
and facilities used to present information
Select and use ICT to communicate and preparing written piece/presentation
exchange information safely, responsibly
and effectively including storage of
messages and contact lists
English
Speaking and listening – make a range of taking and active role in discussions at rehearsals
contributions to discussions and make
effective presentations in a wide range of
contexts
Writing – write documents, including preparing written piece.
extended writing pieces, communicating
information, ideas and opinions, effectively
and persuasively

RR050820 Unit 12 Improving Music issue 4

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