There are two opinions that exist with regard to improvisation. One opinion is that it is something to be feared because of its inherent difficulty. Others would remark that improvisation is a way out for those whose memories might otherwise not be suited for the rigorous discipline of memorizing sheet music. Upon face value, one would agree to either one of the two opinions described above. More than disproving these opinions, this piece aims to get you started in the art of improvisation, whatever your musical background may be.
Improvisation could be simply defined as the act of spontaneous musical composition. Without reading or memorizing a piece of written music, a musician will play out a melodic phrase, a solo, or make up an entire piece on the spot. While most prominent in jazz, improvisation can lend itself well to most genres of music including what is known popularly as classical music.
The art of music improvisation could be said to be as ancient as the history of music itself with people trying out to create a melody with a bone flute or a rhythm with a slit drum prior to the invention of writing. During the period known as the Baroque, composers such as Bach were described to be excellent improvisers. The concept known as thoroughbass or figured bass allowed great leeway for improvising accompaniment. Some concerti written during that time up even up to the Classical period had room for improvisation in the form of the Cadenza. The famous Mozart-Clementi duel featured improvisational portions akin to the modern-day electric guitar duel.
When the music community started the big move to try and preserve works recognized as "hits", improvisation began declining in popularity. Music conservatories began training musicians to to play note per note in an effort to preserve such works, sacrificing training in improvisation. Robert Schumann was even quoted to have said that composers should write more than improvise. Such ideas have led to the promulgation of rigid discipline over spontaneous creativity, resulting into devaluation of improvisation among “Classical” music circles.
In the 20th century up to contemporary times, improvisation still holds a good degree of importance to other musical disciplines such as jazz, non-western classical music, and forms of rock music such as hard rock, metal, and progressive rock. In the classical field, the authentic performance movement and avant-garde circles are utilizing improvisation in one form or another.
Structured discipline is indeed of great value; it would be foolish to allow an entire orchestra to improvise a symphony as it would be like banging a rock with a sledgehammer and expecting to produce a house. The encouragement of creativity through improvisation, within some certain degree of structure, leads to magnificent results. Careful consideration of the workings of musical theory and the musical context has to be always in play whenever one attempts to improvise. For example, in disciplines such as Jazz, improvisation takes guidance from certain theoretical principles. Improvisation therefore cannot be regarded as something aimless or chaotic.
To promote improvisation as the equal of the rigid discipline of written music, two general components can therefore be taken into consideration: musical discipline and creative freedom. Keeping in mind that music is a language will serve as a guide for being able to improvise well. While reading or dictating from memory a poem is similar to playing a written composition on sight or by memory, improvisation is like having a conversation between two or more people in a small group, done spontaneously while following the simplest rules of language.
Some musicians who want to play safe by playing out everything as written will ask why improvise? For one thing, improvisation is an exercise in music theory principles in live playing situations. It trains the ear as well as the mind. The second reason is that improvisation allows the musician to express himself or herself in the most personal and musical manner. Whether it is a cadenza of a piano concerto, a solo section in a jazz standard, or a ripping guitar solo in a rock track, improvisation paves the way for one to play with musical identity. In a way, improvisation is auditory art in the most emotional and cathartic sense.
Improvisation could be simply defined as the act of spontaneous musical composition. Without reading or memorizing a piece of written music, a musician will play out a melodic phrase, a solo, or make up an entire piece on the spot. While most prominent in jazz, improvisation can lend itself well to most genres of music including what is known popularly as classical music.
A Bit Of Music History In Context Of Improvisation
The art of music improvisation could be said to be as ancient as the history of music itself with people trying out to create a melody with a bone flute or a rhythm with a slit drum prior to the invention of writing. During the period known as the Baroque, composers such as Bach were described to be excellent improvisers. The concept known as thoroughbass or figured bass allowed great leeway for improvising accompaniment. Some concerti written during that time up even up to the Classical period had room for improvisation in the form of the Cadenza. The famous Mozart-Clementi duel featured improvisational portions akin to the modern-day electric guitar duel.
When the music community started the big move to try and preserve works recognized as "hits", improvisation began declining in popularity. Music conservatories began training musicians to to play note per note in an effort to preserve such works, sacrificing training in improvisation. Robert Schumann was even quoted to have said that composers should write more than improvise. Such ideas have led to the promulgation of rigid discipline over spontaneous creativity, resulting into devaluation of improvisation among “Classical” music circles.
In the 20th century up to contemporary times, improvisation still holds a good degree of importance to other musical disciplines such as jazz, non-western classical music, and forms of rock music such as hard rock, metal, and progressive rock. In the classical field, the authentic performance movement and avant-garde circles are utilizing improvisation in one form or another.
Improvisation Observes Musical Structure Too
Structured discipline is indeed of great value; it would be foolish to allow an entire orchestra to improvise a symphony as it would be like banging a rock with a sledgehammer and expecting to produce a house. The encouragement of creativity through improvisation, within some certain degree of structure, leads to magnificent results. Careful consideration of the workings of musical theory and the musical context has to be always in play whenever one attempts to improvise. For example, in disciplines such as Jazz, improvisation takes guidance from certain theoretical principles. Improvisation therefore cannot be regarded as something aimless or chaotic.
Improvisation Has Equal Footing With Written Music
To promote improvisation as the equal of the rigid discipline of written music, two general components can therefore be taken into consideration: musical discipline and creative freedom. Keeping in mind that music is a language will serve as a guide for being able to improvise well. While reading or dictating from memory a poem is similar to playing a written composition on sight or by memory, improvisation is like having a conversation between two or more people in a small group, done spontaneously while following the simplest rules of language.
Why Improvise?
Some musicians who want to play safe by playing out everything as written will ask why improvise? For one thing, improvisation is an exercise in music theory principles in live playing situations. It trains the ear as well as the mind. The second reason is that improvisation allows the musician to express himself or herself in the most personal and musical manner. Whether it is a cadenza of a piano concerto, a solo section in a jazz standard, or a ripping guitar solo in a rock track, improvisation paves the way for one to play with musical identity. In a way, improvisation is auditory art in the most emotional and cathartic sense.
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