Rediscovery of Improvisation

The rediscovery of improvisation

Beyond the Written Page: Rediscovering Improvisation in Classical Music for the Modern Performer

Introduction

In this research, I aim to explore the theme of improvisation, a skill that has become increasingly taboo in classical music pedagogy. It is accurate to state that improvisational elements are found in contemporary music. Throughout my academic journey studying classical music, improvisation has rarely been discussed as an ability I should develop. From experience, instrument lessons rely on technique and repertoire. Ear training and theoretical assignments were mostly separated from my main instrument. Although the rules of harmony are learned intellectually, it does not mean the student has the physiological understanding to apply them to their instrument spontaneously.

On the other hand, despite its historical significance, improvisation is infrequently taught to classical instrumentalists today. The art of improvisation lies at the intersection of composition and performance. While I have gained insight into performance, composing, and improvisation through the electric guitar and various musical genres, translating this knowledge to the classical guitar has always posed challenges. As a solo classical guitarist, controlling numerous variables makes spontaneous creativity difficult.

Why is this important? For a student looking to become a well-rounded musician, improvisation encompasses most aspects we learn throughout our studies, such as ear training, theory, composition, and musicality. It applies them in a more practical and understanding way. By no means does that mean we should force students to do so; however, who would not want to have that skill that could be used in numerous ways, that is unique and a reflection of oneself?

Historically, essential figures such as Bach, Weiss, Paganini, and Mozart were renowned for their prolific improvising, but this practice gradually declined in Western classical music. Socially, music has changed, which is typical of evolution. Today, music has never been so accessible and part of our lives. However, the format of a classical music concert has remained static, grounded in established standards and principles, with a well-defined framework. Through my research, I aim to explore what it meant to be a musician in the past, and how masters of the past learned improvisation, particularly during the Baroque and Classical/Romantic eras. This paper examines historical approaches to teaching improvisation and explores how these techniques can inform contemporary classical music pedagogy.

How can we go about it? By looking at the past, we can better understand their methodology to build upon to fit our needs. With that said, we can analyze the prescribed exercise's purpose, assess its application's educational value to our modern needs, and make changes to fit our necessities.

With many centuries to cover, I focused on what seemed the most revealing and appropriate for this research. By no means are those the only references available.

Thorough Bass and accompaniment:

Johan Caspar Heck, The Art of Playing Thorough Bass

Jean-Francois Dandrieu, Principes de l'Acompagnement du Clavecin

Jean-Philippe Rameau, Dissertation sur les differentes methodes d'accompagnement

Denis Delaire, Methode d'accompagnememnt pour le theorbe et clavecin.

C.P.E Bach, Essay On The True Art Of Playing Keyboard Instruments

François Campion, Traité d'accompagnement et de composition

Structure for Improvisation:

Francois Couperin, L'art de toucher le clavecin

C.P.E Bach, Essay On The True Art Of Playing Keyboard Instruments

Andre Ernest Modeste Grétry, Méthode Simple pour apprendre à preludé

Carl Czerny, A Systematic Introduction to Improvisation on the Pianoforte, Op. 200

By addressing these questions, I aim to uncover how the pedagogical approach helped improvisation. I shaped this research by extrapolating key ideas surrounding the concepts of pedagogy and improvisation from the perspective of the classical guitar and critically assessing the findings presented at the end. This Essay aims to inspire and direct me in structuring an ideal improvisational method for today's classical guitarist or classically trained musician interested in this practice.

What is Improvisation

According to the Cambridge Dictionary, improvisation is a performance that an actor, musician, etc., has not yet practiced or planned.

Cambridge Dictionary. (n.d.). Improvisation. Cambridge University Press. Retrieved December 4, 2024, from https://dictionary.cambridge.org/dictionary/english/improvisation

. I cannot entirely agree with that definition because we subconsciously play music we know. From observation, scales, chords, and patterns are embedded in our psyche and redistributed differently. Although we may not have practiced the order, we have practiced scales, chords, and patterns throughout our lives. I would say that improvisation can be seen as organized chaos, where we complete a puzzle with pieces of our minds. Technically, we are not creating anything new but rearranging what we know.

To grasp the role of improvisation in the past, we must first understand how musicians of that era defined themselves and their craft. According to the Oxford English Dictionary, there are two relevant definitions: a person talented in music(a1398), a person who performs music, esp. on a musical instrument, and a professional music performer (a1525)

Oxford English Dictionary. (n.d.). Improvisation. Oxford University Press. Retrieved December 4, 2024, from https://www.oed.com/dictionary/improvisation_n?tl=true

.

Based on both definitions, a musician is a performer. However, we need insight into what makes a musician, or what attributes are associated with it. By exploring what made improvising possible and examining the pedagogical practices of the past that surround harmony, continuo, accompaniment, and composition, we can gain a deeper understanding of what a musician encompasses. What can we take from their practice to better understand the concept of improvisation, and how can we adapt it to our needs?

Harmony

Historians typically define the Baroque era as spanning from approximately 1600 to 1750. We can hear a more diverse harmonic palette, ornamentation, and new styles erupting. One prominent practice was the use of the basso continuo. This accompaniment method is described as partially improvised with the help of a numbering system indicated for the bass. Plucked string instruments and keyboards would fulfill this role, but they are not limited to those instruments. We could see several musicians in this position to support the ensemble. The notation is composed of a bass note accompanied by numbers that will demonstrate the chord's nature and quality. This left room for the musician to create his voicing and ornaments to fill this critical position, which can be considered a form of improvisation. What are the requirements for this position?

First and foremost, a musician aspiring to master the continuo must be well-versed in the rules of harmony and counterpoint. To truly understand these concepts, we must view them through the lens of the Baroque period, as the understanding of harmony and counterpoint was different in that era. Unlike today, where we tend to separate these terms, musicians of the Baroque era had a more integrated perspective on them.

L'harmonie , en musique, c'est ce qui resulte de l'union de plusieurs sons entendus tous ensemble. En general, toute composition qui fait harmonie est contrepoint. (Brossard 1703)

Brossard, Sébastien de. Dictionnaire de musique. 1703.

Le contrepoint est une composition de plusieurs sons different, qui peuvent faire consonance ou harmonie (La Voye-Mignot 1656)

La Voye-Mignot. Dictionnaire de musique. 1656.

Contrepoint veut dire composition. L'Harmonie consiste dans l'union de deux ou de plusieurs sons qui affectent agrèablement l'oreille. (Rameau1726).

Rameau, Jean-Philippe. Traité de l'harmonie réduite à ses principes naturels. 1726.

To summarize, the belief was that harmony and counterpoint are the same. This union of those concepts is critical to understanding the continuum process. Why is this relevant? Integrating counterpoint and harmony facilitates creation by encompassing music's horizontal and vertical progression, which can help us further our skills as improvisers by making the whole concept more concise.

Historical role of the thoroughbass and accompaniment

Thoroughbass has been a crucial component of Baroque music. According to Johan Caspar Heck in The Art of Playing Thorough Bass, Ludovico Viadana invented it in 1605. This form of improvised accompaniment has evolved according to different national identities and has been used in several musical settings, such as songs, operas, oratorios, and chamber works. What can we learn from it from the point of view of improvisation? I've looked at several works to understand the concept better.

There are several practical methods available to learn about continuo. Each method may have unique content, so exploring and incorporating elements from each is beneficial. One crucial observation is the importance of intervals, with many methods starting with this concept; Traité des accords et leur succession selon le systeme de basse-fondamentale-Jean-Philippe Rameau, The Art of Playing Thorough bass-Johann Caspar Heck, Méthode pour apprendre a toucher le theorbe a la basse continue-Nicolas Fleury. At its core, intervals define the relationship between two notes. There are five possible qualities for intervals: perfect, augmented, diminished, minor, and major. Understanding these intervals is a crucial step in mastering the continuo.

There are two types of chords: consonant and dissonant. A chord is built upon stacked intervals.

Figure 1 : All the possible intervals from Nicolas Fleury Méthode pour apprendre facilement à toucher le théorbe sur la basse-continuë

Fleury, Nicolas. Méthode pour apprendre facilement à toucher le théorbe sur la basse-continuë. 1660.

Jean-François Dandrieu's Principes de l'Acompagnement du Clavecin is particularly interesting and insightful—his extensive preface details why and how he structured this work. In summary, he aims to simplify the study of accompaniment by adopting a more direct and practical approach to previous methods, utilizing clear concepts and organizing ideas systematically to facilitate understanding and memorization. This method helps familiarize the musician with the various numbering possibilities on the bass and their corresponding representations by providing multiple exercises. He offers 21 exercises to work on different chords, resolutions and their purpose. The author showcases all the options going up and down the major scale. Studying this thoroughly provides the musician with comprehensive knowledge of recognizing the bass's quality and familiarizing their fingers with the chords associated with the provided numbers.

Figure 2: List of chords to get familiar with from Jean-François Dandrieu

Figure 3: Example of an exercise

Dandrieu, Jean-François. Principes de l'Accompagnement du Clavecin. 1738.

Many methods have been written for accompaniment and composition. One of interest is Jean-Philippe Rameau Dissertation sur les differentes methodes d'accompagnement which is more an intellectual work than practical. However, he provides detailed explanations for his reasoning. In his preface, he explains that he aims to investigate the obstacles that impede student learning in this subject. According to Rameau, there are two reasons to blame: the method of numbering the bass and the rules and methods published so far. The numbering of the bass is too dense and intricate, which leads to confusion and contradiction. In terms of the methods, he explains that what is published is more confusing than helpful. They focus less on the practical side and do not successfully develop the ear and fingers to execute accompaniment. However, he praised one work by Denis Delaire, who wrote Méthode d'accompagnememnt pour le théorbe et clavecin. Rameau praises the adoption of the Règle de L'octave in his practical teaching, which contributed to its development, as well as the understanding and precision of his work on harmony and accompaniment that no one had achieved before. However, he argues that some of his advice is too general and might constitute limitations in dealing with chromaticism and other nuances of harmonic situations, which could lead to ambiguities. Returning to Rameau's point of view, he believes we should focus on the ears and fingers like Dandrieu. The intellectual understanding will happen simultaneously while working on the ears and fingers. The big thing to understand as an accompanist is all the possibilities of the bass and their relation to one another. All the intervals are possible between each bass note, and how to harmonize them while following the rules of harmony.

One term mentioned previously, Règle de L'octave, which is taught and discussed in these methods, was first published by François Campion in 1716.

Rameau, Jean-Philippe. Dissertation sur les différentes méthodes d'accompagnement. Paris, 1732,pp.7

The rule has been used and changed with time by other musicians. This formula is one way to harmonize the major and minor scales cohesively. Upon this, it is a formula they could accompany, improvise and compose. This leaves us with the importance of understanding the relation between the bass notes, which allows the musician to choose the proper harmonization based on context. From its core, it gives the performer an extensive harmonic language with which to experiment.

Figure 3 : Règle de l'Octave in major and minor

Campion, François. Traité d'accompagnement et de composition. G. Adam, 1716

This showcases the importance of the bass in composition, accompaniment and improvisation.

To wrap up this section, the observation of C.P.E. Bach, in his book Essay On The True Art Of Playing Keyboard Instruments, explains the state of the practice during the classical period as stated:

Regarding performers of the thorough bass, we are worse off now than we used to be. The cause of this is the refinement of modern music. No one can be content any longer with an accompanist who merely reads and plays figures like a born pedant, one who memorizes all the rules and follows them mechanically. Something more is required.

11 . The "something more" provides the reason for this continuation of my Essay and shall furnish its principal teachings. I aim to instruct those accompanists who, besides learning rules, desire to follow the precepts of good taste.

12 . To become a skilled performer of thorough bass, one must first devote time to playing good solos.

13 . Good solos are those that have well-constructed melodies and correct harmony and provide sufficient exercise for both hands

14. In playing these, the ear grows accustomed to good melody, an essential factor in accompaniment, as we shall see presently.

15 . The performer also becomes familiar with all types of meter and tempo, along with their characteristic passages. He has become quite helpful in dealing with most of the problems of thoroughbass and has acquired finger facility and practice in sight reading. In brief, solos exercise the eyes, ears, and fingers.

Good solos refer to:

Mattheson (Der vollkommene Capellmeister) writes: ". . . Everything that is played on keyboard instruments falls into two classes, solos (. Handsachen ) and general bass." However, cf. Pt. II, Introduction, 111 12 - 15. Whereas Bach's description of Handsachen would seem to limit the term to certain types of keyboard solos

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell, W.W. Norton & Company, 1949.

His insight into thoroughbass hints at why it was abandoned as a practice. Based on the lack of consistency and the practice's ambiguities, my hypothesis suggests that the composer wanted control over the harmony and not let the poor performer destroy it, considering that harmony evolved.

His Essay also includes a chapter on improvisation, which is particularly interesting and will be examined in due time.

What can we take from it?

Those methods all showcase the importance of the bass in composition and accompaniment, which leads us to improvisation. Since improvisation is a mix of different aspects of music executed simultaneously, understanding the bass as a foundation can guide us toward harmonic flexibility. Knowing that the bass movement covers all the intervals. Knowing we have 12 intervals in which the bass can move gives many options. Diving into these methods, we see many formulas that would teach us how to approach those different chords and bass movements and their purpose. It is meticulous work. However, the results are proven with the music of Bach, Handel, and Vivaldi. We can notice similarities in harmonic progressions in several baroque composers. They were not ripping each other off. They would learn those formulas to create; some stand out because of their taste. For example, we all wear clothes, but we choose what clothes we wear and the colour that reflects us. Knowing they would compose using those formulas and teach them on the instrument, it is no fault of theirs that they could not improvise. The concept of accompaniment and thorough bass gives the musician the harmonic palette and reflexes needed for improvisation. To showcase the importance of the bass, Carl Philipp Emanuel Bach explained what his father, Johann Sebastian Bach, would share with his students.

'As for composition, my father would go directly with his students to practical matters. His students began their studies by realizing the basso continuo in four voices: at first, he composed the basso himself, and then taught them how to write it. The realization of a basso continuo is undoubtedly the best way to study composition." Carl Philipp Emanuel Bach's Essay on the True Art of Playing Keyboard Instruments (1770).'

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell, W.W. Norton & Company, 1949.

This statement could guide us to the foundation of continuo/improvisation. He can build upon this foundation by training the musician to understand the bass by exploring his musical expression.

With that said, since continuo is not as prevalent in today's contemporary work unless you want to dedicate your career to historical performance, the art of continuo and accompaniment does not represent the needs of the classical instrumentalist. Learning continuo and accompaniment will develop those improvisatory reflexes. Can we take those lessons and apply them to our goal of improvisation? I argue yes. However, we will face limitations by only looking at the language of the time. Since baroque music has influenced the following generations, starting with the baroque language could be a great foundation on which to build.

Structure for improvisation

Musicians of the past would use certain forms that were structured around improvisation. One observation made from research has revealed that the word improvisation was rarely mentioned. However, the most common way they would refer to improvisation is by two standard terms we hear often: Prelude and Fantasia. Technically, preludes served as an initiation of the musical key and context of a larger piece of work that could be improvised or written out. While we have a lot written, it would have been common for musicians to improvise them. My assumptions lead me to believe that before Liszt standardized the recital in the 19th century, composers would often, more than not, play their music. Writing the written Prelude could be more or less of a template or a foundation, but not strictly, with room to play around.

One thing to remember is how forms and meanings have changed throughout music history. For example, early sonatas in the 18th century were not developed as much in structure, harmony, and thematic development as in the 19th century. With that said, a prelude written by Chopin versus a prelude written in the baroque era differs dramatically in form, function, and emotional intent, though they share a name.

Returning to the baroque era, the knowledgeable musician could improvise passacaglia, chaconne, theme, variations, and even fugues for the more distinguished musician.

Davidsson, Hans. "Fugal Improvisation in the Baroque Era—Revisited." The Diapason, Accessed December 4, 2024.

Interestingly, those forms all have a structure they can build upon (except the Fantasia, which would be the most improvisatory, more unrestricted form). We will now proceed by looking at the Preludes and the Fantasia. One notable French baroque musician, François Couperin, describes a prelude as follows:

"Prelude , est une composition libre, ou l'imagination se livre a tout ce qui se présente a elle. Mais , comme il est asses rare de trouver des genies capables de produire dans l'instant; il faut que ceux qui auront recours a ces preludes regles, les jouent d'une maiere aisee sans trop s'attacher a la precision des movement; a moins que je ne l'aye marque expres par le mot de mesurer."

Couperin, François. L'Art de toucher le clavecin. Paris, 1716.

This definition is a poetic way of describing the Prelude, where he mentions that the imagination is free to explore. However, the definition must be more specific for somebody searching for understanding. If we put ourselves in the shoes of someone who does not know what a prelude is and provide this definition, would they still understand the meaning and purpose? Couperin mentions that it is hard, and few musicians can spontaneously create a prelude showcasing this practice's difficulty. In this section of his book, L'art de toucher le clavecin, he provides the preludes without measures, giving the performer more freedom. However, we can find more extensive and elaborate work about the art of the Prelude.

Returning to Carl Philipp Emanuel Bach's Essay on The True Art of Playing Keyboard Instruments, he discusses many essential factors for the keyboard instrument that can be transferred to another instrument. After expanding on fingering, embellishment, performance, intervals, thoroughbass, and accompaniment, he ends with improvisation by referring to the practice as a free-form fantasia. He starts by stating the Fantasia to an improvised composition. He showcases the difference between a Prelude and a Fantasia, such that the Prelude introduces us to the following content of a more significant work. The Fantasia aims to display the performer's technical and musical ability. In other words, a piece to show off. He gives tips on structuring the Fantasia, such as staying in the initial key early enough or being brought back too late at the end. A certain balance must be followed for a cohesive structure. Even though it is accessible in form, we seek a coherent narrative that the listener can follow. Especially knowing that music is closely related to the art of speech.

Figure 4: C.P.E. Bach exercise for improvisation

Here are a couple of exercises from C.P.E. Bach to practice improvisation. We can notice the attention given to the bass as the foundation of the thorough bass indication. It is not arbitrary that this chapter is presented at the end of his second book. Following the steps necessary gives the student the optimal baggage to improvise. He mentions that some teachers forbid the students from playing their compositions, holding back their creativity and expression. That said, improvisation should be thought of simultaneously as harmony, instrumental practice and composition to train the ear, mind and body to react accordingly to the scenarios presented. As mentioned, this method is dedicated to the keyboardist. However, musical insight and wisdom can be applied to any polyphonic instrument.

One of the most interesting findings I came across was Méthode Simple pour apprendre à preludé by André Ernest Modeste Grétry, published in 1801-02. In this method, he shared 18 lessons on how to prelude. One important thing to clarify is the meaning of Prelude. In this context, it is clearly for improvising. The definition morphed into a more improvised form than an introductory piece for a larger body of work. It is essential to be aware of the appropriate definition to avoid misunderstanding.

On the other hand, he provides several exercises to teach finger placement, ear training, and proper resolution. He provides scenarios of questions students might ask, with answers that give the reader a better understanding. For example, he offers valuable advice about ear training and bass in a fictitious scenario between a student and teacher.

Student: But why do we sing this fundamental bass only when taking our lesson?

Teacher: Without it, there are as many chords as there are sustained notes in all the chords; moreover, the fundamental bass is the unequivocal proof of the validity of the chords. A chord lacking a fundamental bass is a matter of convention and outside the rule; this is called a harmonic license.

Student: Can you give me a comparison to help me better understand this?

Teacher: Man is endowed with a hundred faculties, good and evil; he is deceitful, truthful, lively, slow, ambitious, vindictive, gentle, kind, virtuous... Would you make each of these faculties a distinct being? No, that only fits in fables. However, as many chords have been created as there are notes in a hundred chords, this was a mistake, for they are the same. These are the same two fundamental chords—one consonant, the other dissonant—modified by the bass. All chords derive from these two primitive chords are merely their faculties.'

Grétry, André Ernest Modeste. Méthode simple pour apprendre à préluder. Paris, Chez L'Auteur, 1801–1802, pp. 16–17. Translated by Cedric Theriault.

It is eye-opening in the simplicity he achieves in deconstructing harmony in two chords: consonance and dissonance. We see again the importance of the bass and how we must familiarize ourselves with it. Of course, harmony is more complex; however, simplicity is vital for improvising. We must know that improvising requires a different way of thinking than performing and composing. Simplicity is Vitale; to improvise, we must understand the narrative of the improvisation. With the interpretation of a piece, the drawing is provided, and your role is to add the colours. Improvising: You draw and add colours. This book is a good start, based on the multiple exercises and wisdom shared in this method.

Carl Czerny; A Systematic Introduction to Improvisation on the Pianoforte, Op. 200.

Upon my research, Carl Czerny's work A Systematic Introduction to Improvisation on the Pianoforte, Op. 200, provided the most detailed insight into improvisation in the classical sense. He goes to great lengths to detail when it is acceptable to improvise and how to attain the freest of expression from a performer. He gives the reader some guidelines for the improvisation depending on the context, which suggests he came up with them through observation. He develops different forms of improvisation that we can encounter, such as the Prelude, Fantasia, and cadenza, which are dismantled into several components. I will quickly summarize the main points discussed in this work.

What is the difference between improvising and composing?

First, he states that natural aptitude consists of inventive power, lively imagination, ample musical memory, the quick flow of thoughts, and well-formed fingers. Second, thorough training in all the branches of harmony is necessary so that it becomes second nature. The third is a wholly perfected technique of playing.

Improvisation can be categorized into several levels for the student to assimilate.

That said, the student must mature in musical knowledge to develop improvisational reflexes, which come later in the music study process.

1. Prelude before beginning a piece

Preludes can be divided into two categories:

First, it is short, as though only a few chords, runs, passagework, and transitional materials, one is trying out the instrument, warming up the fingers or arousing the listeners' attention. These must conclude with the complete chord of the principal key of the work to be performed.

Second, longer and more elaborate, just like an introduction to the following piece; therefore, even thematic materials from the latter can be introduced therein. An intro such as this, which already allows for some modulation, must conclude with a cadence on the seventh chord if the dominant of the following piece and, by that token, become connected with it.

He gives pointers on how to make it appropriate. For example, if a rondo starts directly with the theme without any introduction, it is inappropriate to shape the Prelude more elaborately, with the theme, and longer than the rondo.

Essentially, we want to have the character of the following piece we are proceeding with.

The method also discussed the Prelude without measures, essentially a recitative built upon broken chords, giving the performer ample expressiveness.

2. Fantasie-like improvisation.

Concerning improvisation on a single theme:

The art of speech is the driving force for single-theme Fantasia. We want a cohesive dialogue that the audience can understand, like how we use language.

The clear structure offers direction on improvising and the various methods needed.

3. Cadenza

For the second cadenza and fermatas, the author suggests the following guidelines:

It must be in the piece's spirit, not too long or short, and we can modulate. However, we must retain the dominant seventh of the piece as the underlying harmony. We must approach the continuation of the piece accordingly based on its essence.

Finally, the concerto's closing cadenzas are freer, creating a fantasy-like atmosphere where the performer can experiment more freely while borrowing ideas from the piece.

To wrap up, this book provides valuable tools for structure and essence for successful improvisation. I suggest he devise guidelines for listening, observing, and experimenting. The suggestions can be malleable to a certain degree; however, his reasoning is clear and logical, and they should be of value for a student interested in learning about classical improvisation. It is intended for keyboardists, but the musical value can apply to any polyphonic instrument.

Most valuable treatise about improvisation:

Skimming through over fifty treatises related to music, some stood out for this research. This short list is based on the value of their content on the pursuit of understanding the concepts surrounding improvisation. For the sake of time, some have not been discussed yet and are phenomenal work to investigate.

Carl Philippe Emanuel Bach, The True Art of Playing Keyboard Instruments

Francois Campion, Traité d'accompagnement et de composition

Carl Czerny , A Systematic Introduction to Improvisation on the Pianoforte, Op. 200.

Jean-Francois Dandrieu,Principes de l'accompagnememnt du clavecin

Denis Delaire,Traité d'accompagnememtn pour le theorbe et le clavecin

Andre Ernest Modeste Gretry, Methode Simple pour apprendre à prelude

Giacomo Merchi, Le guide des Ecoliers de Guitare op.7

Salvadore Castro, Methode de guitare ou lyre (12 books)

Observations

Improvisation, often viewed as the fine line between performance and composition, is a vital skill that can significantly enhance musicianship. While it may not be a standard component of modern music education, introducing students to improvisation and a structured understanding of harmony can yield profound benefits for performers and composers alike. This approach combines historical insights with modern pedagogy to create a holistic framework for teaching improvisation.

Historically, methods for teaching improvisation offer valuable perspectives, even if some, like Carl Czerny's assertion that improvisation should follow a complete understanding of harmony, warrant reconsideration. While harmony is indeed fundamental, the process of learning harmony and improvising can be intertwined. This dual approach allows students to engage actively with harmonic principles, applying them creatively through improvisation exercises to build reflexes for spontaneous creation.

I believe that improvisation requires structure, no matter what style of improvisation. With clear guidelines, students can create cohesive passages, emphasizing the need for a systematic approach. Historically, musicians often relied on established formulas and forms to guide their improvisations. The Fantasia, Prelude, Theme and Variations, and Passacaglia frameworks provided boundaries for creativity to flourish. The art of improvisation lay in how skillful musicians embellished these structures, distinguishing the great from the mediocre. Teaching and encouraging students to explore these forms can provide a foundation for creativity that balances chaos with order.

One essential element in this pedagogy is understanding the basis. Thorough bass (basso continuo) and accompaniment are invaluable tools for teaching harmony and improvisation. They train musicians to support a melody while creating a fuller sound, fostering an intuitive grasp of harmonic resolution and voice leading. This dual focus also prepares students to work collaboratively with other musicians or accompany themselves effectively. Through these exercises, students learn to re-harmonize bass lines and develop the flexibility to adapt their playing to different musical contexts. Much focus has been placed on polyphonic instruments. For single-line instruments, to develop the skills for improvisation, we would need a different approach that we did not have time to dive into.

Another critical aspect is ear training and interval recognition. Historical teaching methods emphasized guiding students' fingers to proper resolutions while training their ears to discern harmonic relationships. In other words, working with the instrument and not separately. By experience, our ear training class teaches us to sight-read music in an intellectual way rather than a practical one. By no means am I disregarding the practice. However, we must practice with the instrument to transcend into practical application. This dichotomy of technique and aural skills remains relevant today. By incorporating ear training into harmony and improvisation exercises with the instrument, we help students understand the purposes of intervals and their resolutions, strengthening their ability to create musically coherent improvisations.

Improvisation, musical or not, remains an integral part of our everyday lives. Different styles of music, such as jazz, blues, Indian classical music, and Arabic music, value improvisation. In a world where culture and musical tastes are in constant flux, the context of improvisation has evolved along with these changes. However, the need for clear definitions and structures persists. For instance, Couperin's poetic description of a Prelude as an exercise in free imagination is inspiring. However, it must be more specific since it aims to introduce a larger body of work or, as observed, a piece of free form. To teach effectively, we must resolve ambiguities and provide students with clear guidelines that balance creative freedom with structural coherence. This understanding of improvisation's contemporary relevance can help us connect with our students and the current musical landscape. I do not suggest we return and learn the way they did. Instead, I advocate an understanding of the past so we can build new formulas and approaches to fulfill the needs of today's classical musicians.

Furthermore, those resources are a great way to inspire musicians looking to dive into improvisation. Improvisation, being vast, can take many shapes and forms, from free to a more structured approach. Nonetheless, we are looking for coherence and a particular flow which allows the listener to follow. Being very personal, the skill makes it hard to give instructions that might work for everyone. As a teacher, sharing different pathways and exercises that allow the students to experiment with ideas that resonate with them would result in a higher success rate than trying to fit one shoe for all. With improvisation, there is no right or wrong note if reasoning and cohesiveness are followed. My ideal improvisation book would be structured around harmonic formulas that become second nature. After achieving this, you provide a bass line to harmonize based on the formula in its simplest form. We must remember the importance of rhythm. Practicing with a metronome on different rhythms allows for developing a more diverse language. Another possibility would be to provide several common key progressions and showcase all possible variables by providing a clear harmonic and melodic context, diligently fingering to accompany your melody. The role of the author in this sort of method is to guide, not to tell.

In summary, improvisation is an art like any other musical skill requiring practice. It thrives within boundaries, where structure and creativity coexist. We can nurture well-rounded musicians by integrating the study of harmony with improvisation exercises and a clear structure. This balance between structure and creativity is not a constraint but a source of inspiration and motivation for the students. Improvisation, far from being a peripheral skill,

enriches performers and composers, allowing them to engage deeply with the essence of music.

Bibliography

Books and Treatises:Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell, W.W. Norton & Company, 1949.

Brossard, Sébastien de. Dictionnaire de musique. 1703.

Campion, François. Traité d'accompagnement et de composition. G. Adam, 1716.

Couperin, François. L'Art de toucher le clavecin. Paris, 1716.

Czerny, Carl. A Systematic Introduction to Improvisation on the Pianoforte, Op. 200. Translated by Alice L. Mitchell, Longman, 1983.

Dandrieu, Jean-François. Principes de l'Accompagnement du Clavecin. 1738.

Fleury, Nicolas. Méthode pour apprendre facilement à toucher le théorbe sur la basse continue. 1717.

Grétry, André Ernest Modeste. Méthode simple pour apprendre à préluder. Paris, 1800.

Heck, Johann Caspar. The Art of Playing Thorough Bass. 1777.

La Voye-Mignot. Dictionnaire de musique. 1656.

Mattheson, Johann. Der vollkommene Capellmeister. Hamburg: Christian Herold, 1739.

Rameau, Jean-Philippe. Dissertation sur les différentes méthodes d'accompagnement. Paris, 1732.

Rameau, Jean-Philippe. Traité de l'harmonie réduite à ses principes naturels. 1726.

Online Dictionaries:Cambridge Dictionary. Improvisation. Cambridge University Press. Accessed 4 Dec. 2024, https://dictionary.cambridge.org/dictionary/english/improvisation.

Oxford English Dictionary. Improvisation. Oxford University Press. Accessed 4 Dec. 2024, https://www.oed.com/dictionary/improvisation_n?tl=true.

Articles and Essays:Davidsson, Hans. "Fugal Improvisation in the Baroque Era—Revisited." The Diapason, Accessed 4 Dec. 2024.

Jurik, Andy. "Embracing Chaos: Reviving Classical Guitar Improvisation." Soundboard, vol. 48, no. 1.