Improvisation I (after m. 130) Following a short pause, a solo instrument begins this improvisation, adding other instruments as the improvisation progresses. A suggested order might be vln, clar, trombone, etc., but the conductor is advised to use the most competent improvisers in the ensemble. The players improvise on short phrases from material in section 1 (mm. 1-130), moving from the slower layers of rhythm (I) to fast (II), and faster (III) ones. It is suggested that they begin in an unmetered, “groove-less” manner. As many players can join as the conductor deems necessary. Then, at a given moment (may be cued by conductor), the bass player begins with a walking bass line, eventually transitioning smoothly into m. 131 (section 2).
I.
Trombone m. 1 - 2 (15ma in treble instruments) m. 13 (leave at first beat of measure) m. 17 (w/ pickup) m. 24 - 25 m. 28 - 29
II.
Trumpet and Sax m. 72 – 78 (first beat only) - Sax (Trumpet plays Sax line up a fourth) m. 93 – 94 (w/ pickups) (Sax plays a fourth up)
III.
Keyboard m. 102 – 105 (w/ pickups)
Improvisation II (after m. 182) In this improvisation the ensemble is split into groups, each of which realizes a different layer of rhythmic speed. The instrumentation may correspond to the divisions in the original score, i.e.: fastest layer: (III) flute, percussion, violin. It is suggested that this group choose fragments of their sixteenth-note passages and play them literally. Either the violinist or flutist can serve as a group conductor, cueing these fragments in and cutting them off when desired. This group may use these measures as a guide: m. 108 – 114 (beat 1) – Violin play flute line middle layer: (II) trumpet and alto sax play material derived from the arpeggiated eighth note passages. It is suggested that these fragments be played in rhythmic canon, and using quartal melodic phrases This group may use these measures as a guide: m. 86 (w/ pickup), m. 90 (first 2 beats) slowest layer: (I) bass, bassoon, bass clarinet, cello. These players may decide to play separately, or like the fastest layer, may choose fragments of their “lugubrious” swung music, cueing in and out by having the cellist act as a group conductor. This group may use these measures as a guide: m. 22 – 33 (first 2 beats) Eventually, the drumset player makes his/her way into the texture, and the improvisation ends with drum solo. It is possible for the solo to end on an energetic note, but it is suggested that it “winds down” to a close. The ensemble then moves “attacca” into the final section at m. 183.