Classical Improvisation for Students (and Their Teachers) Robert O. Music in the Galant Style. New York:…

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<ul><li><p>Classical Improvisation for Students </p><p>(and Their Teachers)</p><p>John Mortensen, DMA, NCTM</p><p>Steinway Artist &amp; Ohio Artist on Tour</p><p>Professor of Piano, Cedarville University</p><p>Download the notes for this presentation at</p><p></p></li><li><p>WAYS TO IMPROVISE(FROM HARDEST </p><p>TO EASIEST)</p></li><li><p>Fugue</p><p>What is provided: A subject. </p><p>What you have to make up: Exposition, Episodes, </p><p>Modulations, Presentations.</p></li><li><p>Fugue</p><p> The performer needs to create spontaneous invertible counterpoint, episodes, modulations, presentations in various voices, sequences, cadences, etc. </p><p> Level: Highly Advanced.</p></li><li><p>The Dance Suite</p><p>What is provided: A bass line. </p><p>What you have to make up: Harmonies and stylistic elements of each dance.</p></li><li><p>Dance Suite</p><p> The performer uses an established bass line to extrapolate harmonies, and then overlay the characteristic elements of each dance (meter, figurations, polyphonic motions, etc. </p><p> Level: Advanced.</p></li><li><p>Toccata or Fantasia</p><p>What is provided: A key. </p><p>What you have to make up: Everything. But it can be very episodic and loose.</p></li><li><p>Toccata/Fantasia</p><p> The performer must string together a series of stylistically appropriate elements, but may pause between each statement. The musical texture need not be seamless. Modulation is possible but not necessary. </p><p> Level: Moderately Advanced.</p></li><li><p>Variations Chaconne Passacaglia</p><p>What is provided: A looping progression. </p><p>What you have to make up: Continuous new variations.</p></li><li><p>Variations/Chaconne/Passacaglia</p><p> The performer must invent variations on an existing progression. Because the meter and harmony and provided, the performer is only responsible for surface elements such as texture, figuration, and ornamentation. </p><p> Level: Moderate</p></li><li><p>The Figuration Prelude</p><p>What is provided: The chords. </p><p>What you have to make up: The pattern.</p></li><li><p>Figuration Prelude</p><p> The performer is responsible to follow a given chord pattern and create consistent elaboration upon it. The performers only job is to create figuration. </p><p> Level: Moderately easy.</p></li><li><p>The Unmeasured </p><p>Arpeggio Prelude</p><p>What is provided: The notes. </p><p>What you have to make up: The pacing and rhetoric. </p></li><li><p>Unmeasured Arpeggio Prelude</p><p> The performer can play only the written notes, but most imbue them with compelling rhetorical sweep and direction. </p><p> Level: Easy.</p></li><li><p>Further Resources</p><p>Erhardt, Martin. Upon a Ground - Improvisation on Ostinato Basses from the Sixteenth to the Eighteenth Centuries. Magdeburg: Verlag Franz Biersack, 2013. </p><p>Gjerdingen, Robert O. Music in the Galant Style. New York: Oxford University Press, 2007. </p><p>Mortensen, John. The Pianists Guide to Classical Improvisation. Forthcoming in 2018. </p><p>Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice. New York: Oxford University Press, 2012. </p><p></p></li></ul>


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