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This paper reflects on using improvisation approaches in teaching sound art, in socially-engaged art projects, and in tertiary classrooms. The author argues for an approach she calls 'resonant pedagogy' where improvisation is present in both the pedagogical design and in the content of the classes, allowing teachers/facilitators and students/participants to work together across the different disciplines that coalesce in the practice of sound art. A resonant, improvisatory approach also recognises and responds to the backgrounds, experiences, abilities, environments, and cultures of those present. Using examples from training in community settings in Australia, Northern Ireland, and Canada, and classes at the University of Regina, she suggests that incorporating improvisation might be one way to push back against the binary of 'inclusion' and 'exclusion'. In such a binary, power seems to rest with those doing the 'including'. Instead, she suggests teachers make room for unique cultural formations to thrive, in a climate marked by resonating differences. [ABSTRACT FROM AUTHOR]