A Practical Introduction to Classical Improvisation

John Mortensen, DMAVisiting Fulbright Scholar

Cork School of MusicCork, Ireland

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JCF Fischer: PreludeFrom “Clio” Suite

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Consistent four-voice texture allows for consistent figuration.

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Figuration Ideas

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The “Page One” Opener

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(Exordium = Page One)

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Opener, Desc 7-6, Modulation, and Cadence

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Pachelbel and Zipoli

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Pachelbel

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• A very simple bass and harmony: easy and memorable

• Now we need some variation strategies

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Project Overview

Monday, 19 February - Practical Introduction to Classical Improvisation 11 am Curtis Auditorium

Tuesday, 20 February – Lunchtime Concert I– 1:10 p.m. Curtis Auditorium

Tuesday, 27 February – Lunchtime Concert II– 1:10 p.m. Curtis Auditorium

Thursday, 1 March - Lunchtime Concert III– 1:10 p.m. Curtis Auditorium with Student Performers

IMPROVISATION CLASS I: Monday, 19 February – 1 p.m.- 3 p.m. Room 217 Figuration Preludes I.

IMPROVISATION CLASS II: - Wednesday, 21 February, 11:30-1:30 Room 312 Figuration Preludes II.

IMPROVISATION CLASS III: -Friday 23 February, 11:30-1:30 Room 312 Variation I. Divisions I.

IMPROVISATION CLASS IV: Monday, 26 February – 1 p.m.- 3 p.m. Room 217Variation II. Divisions II.

IMPROVISATION CLASS V: Wednesday, 28 February, 11:30-1:30 Room 312 Toccata I.

IMPROVISATION CLASS VI: Friday 2 March, 11:30-1:30 Room 312 Toccata II. Rehearse for final concert.

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Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments (1753). William J. Mitchell, trans. and ed. New York: Norton, 1949. The foundational text by CPE! The most helpful bit from his improv chapter is the section on the Rule of the Octave. Though difficult for the modern reader, Bach’s treatise sheds considerable light on the fact that improvisation and composition arose entirely from the bass line in this era.

Czerny, Carl. A Systematic Introduction to Improvisation on the Pianoforte: op. 200 (1829). Alice L. Mitchell, trans. and ed. New York: Longman, 1983. Czerny’s treatise reveals the improvisational practices of that time (short preludes before composed pieces, fantasies on themes, etc) through comment and example. Nevertheless, students of improvisation will find it difficult to learn how to do much except imitate Czerny’s examples as the treatise does not delve into the underlying knowledge required to create the improvisations. Students will be left thinking, “OK, I see what you did, but how did you know to do it?”

Erhardt, Martin. Upon a Ground – Improvisation on Ostinato Basses from the Sixteenth to the Eighteenth Centuries. Translated by Milo Machover. A hands-on guide for use in class, in a group or alone. For all instruments. Including two play-along CDs in 415 and 440Hz.Edition Walhall Nr. 905, Verlag Franz Biersack, Magdeburg 2013 ISMN: M-50070-905-3Erhardt’s book is a guide to playing divisions on a ground (improvisations on a bass line). This is the best approach to “classical” improv for small ensembles. Works great for mixed groups including strings, winds, and even singers.

Gjerdingen, Robert. Music in the Galant Style. This is a book of musicology and theory that will (or rather, could) help you improvise. Gjerdingen proposes that Galant composers thought in “schemata” — that is, two-voice outlines. I’ve found that, after studying the schemata, it is possible to play spontaneous music that is stylistically legit, has good voice leading, etc. Gjerdingen is definitely on to something. Caveat: Gjerdingen is a brilliant scholar, not a pedagogue of improvisation. He will explain the schemata in beautiful detail but not really tell you how to start from scratch and incorporate them into your improvisational life.

Hancock, Gerre. Improvising: How to Master the Art. New York and Oxford: Oxford University Press, 1994. Great book for organists. Somewhat geared toward a modern modal harmonic language rather than “classical”. Not for beginners.

Mortensen, John. The Pianist’s Guide to Classical Improvisation. Forthcoming in 2018.

Sanguinetti, Giorgio. The Art of Partimento. It seems that partimenti played a much bigger role in musical training that anyone thought. Sanguinetti explains what they are and (to the extent anyone now can) how they work. They can be the basis of improvisation study and function as bass lines, chord charts, and coded polyphonic guides all at once.

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