The Art of Improvisation

Op. 110, I, good example Sonata- form without a second subject. Fugue is inter- rupted. by a lyric passage, after which inversion is used.[r]

THK ART

OF

IMPROVISATION

A handbook of principles and methods for organists,

pianists, teachers and all who desire to develop extempore playing*,

based upon melodic approach.

by

ID 3Ex"rrro3sr

most of our folk poems and folk songs It came out without knowing how it came out

Of course, contemporary education demands that one carry a thing beyond this sub-conscious

stage.

the shortest of ditties and can expand as wished, the designof the book beingas flex-ible

In conclusion,it may be well to compare brieflythe study of improvisation'and com- position

In the first,ideas are "tickled" out of one at once upon contact with the keys; while,

And as a final suggestionto students this work can be used as a method in musical

will open the way towards freeingthe musical spirit.

T Carl Whitmer is the author ofseveral books, as well as of innumerable essays on musical subjects He

isknown, also,as a composer ofmuch choral and instrumental music, notablyof -his Six Symbolic Dramas.

Now of New York,Mr Whitmer was for many years an organist,choir director and teacher of organ,composition and improvisationin Pittsburgh

M.W."Sons 19521-75

SO1STS

It is taken for granted usuallythat improvisationisof use onlyto the professional

is a talent that lies dormant in nearlyevery music student. It is not dependentupongreattechnic nor upon great musical learning.It is just something that comes fromone's fingers" awkwardly or fluently.It comes out of high or low, educated or uned-ucated

justas poetry gushesforth from the Welsh bards Just average peoplemademost of our folk

Of course, contemporary education demands that one carry a thing beyond this sub-conscious

stage.

Now, while this new book carries the subjectinto the complexneeds of the concert

as talents differ one from another

In conclusion,it may be well to compare brieflythe studyof improvisationand com- position

In the first,ideas are "tickled" out ofone at once upon contact with thekeys;while,with the second,ideas have been left largelyin the backgrounduntil basic knowledge

is pretty complete.Emotion is immediatelystirred in the one while intellectual train-ing,

Some fluencyof simple expressionisexpectedat once in the one while that fluency

There isalwaysa wrench in going from pure theoryto practice This Art of Improvi- sation

THE AUTHOR

T Carl Whitmer is the author of several books,as well as of innumerable essays on musical subjects.He

isknown, also,as a composer of much choral and instrumental music, notablyof 'his Six Symbolic Dramas.

Now of New York,Mr Whitmer was for many years an organist,choir director and teacher of organ,

composition and improvisationin Pittsburgh

M.W."Sons 19521-75

Any musical person can learn to improvise, providedhe allow time each and every

day to build and fullyestablish fluency.

There isno greatsecret about it;and,with the exceptionof concert improvisation,

no great basis of theoretical knowledge is demanded

As to greattechnical (mechanical) basis,that is not at all a prerequisite except

Of course, a book such as this certainlyis not a "breviaryfor idlers?"but,a com- petentand patientworker will nevertheless achieve greatinner sense of mental satis-factionwhich will seem like sport by becoming a "composer for the moment."

of this work for"pianistsand .organists'!He said,wouldn't it be equally goodforgui- tarists.

words "for organists"and rather think ofitas written for everybody who plays.

Guilmant wrote: "Organists,who are solicitous for the dignityof the art of theirinstrument must most methodicallywork at improvisationand developthemselves in

the many different musical forms

All such studies must be made very slowly:it is the onlyway to playwell and im-provisehappily."

name like "Gradus ad Parnassum" But,do we not know that many at the ripeage of

and quite fullybelieve itwill lead even a musical sophomore to at least some farther

The author has consulted allavailable works inseveral languagesand believes that this

isthe onlywork that illustratesnearlyevery pointin progress bymeans ofone givenmotif

art of "unfoldment" One can illustrate most anythingifone has the world's most careful-lychosen subject.But the rub consists in illustratingthe pointwhen one has a probable

worst subject,as often fallsto the lotof improvisers.

It ismy hopethat this work will lead many goodmusicians to make yet finer and

PART ONE

GENERAL BASIC PRINCIPLES

(Read this chapter Later,come back to itfor restudy.)

ofthe melodic,rhythmicand structural aspectsand possibilities ofa fractionalpart" such

as one or two measures" ofthe basic melodic theme selected

must be adhered to and extended until it has run its course. An unfolding-structure first

entity by expansion. This isyour problem.

. ifone but turn them to varying lightsand effects

The differences between playinga set printed phrase and expanding one extempore

are essentiallydifferent psychologicalprocesses The first is reproductive,while the

second is generativeresultingin budding, flowering, unfoldingor expansion.

he is"like unto a god,with power to create good and evil"

that harmonizations, as he knows them, are the least importantof his efforts.The most im-portant

of his effortsare listed under the heads of counterpoint (polyphony)and structure,

Harmonies, as devices,are fewer in number and- as stated- more static in tendency.

purpose that is sure to stop one before one is well started

Also,chord progressionsare hedged about by rules that will make the student too con- scious

improviser "gets

this result The idea,on the contrary,must always be kept in a state of flux.

Copy on music paper and place on piano the given melody for improvisationwithout

any harmony attached to it Later, omit clefs

The process of extempore playing is synthetic,but a preliminary analysis plays a

One must get on intimate terms little by little with the form and style of all thedifferent sorts of structures such as Two and Three Part Form, Minuet,Sonata Form,etc.

In conclusion of these generalizationsI would say that the theme material must be ex- hausted

by mental processes before one's emotions can be set into action

Also,in improvisation,when one has made a note mistake, or rhythmic or harmonic

error do not correct it. Rather,make use ofit,repeatingthat "error" in the following

phrases.In other words, incorporate the error and itbecomes partof the patternor schemeitself When skill is attained all will merge very naturally with the plan.An error may

Do not gettoo fussy about how every part of the "thing"sounds Go ahead All pro-cessesare at first awkward and clumsy and "funny" Polishing is not at all the im-portant

Italways is difficult to remember what one has improvisedin order that the part may

be repeatedin essence, (asin Song Form, etc.).That, too,becomes easy. It is not necessary

to remember all details,but it is necessary to recall plan and method and generalcharacter

until you getthis one thought deep down: In expansion the form isgenerated.

Whereas, in the classical sort ofmold, the playerfirst decides on a form such as A-B-A

which isperhaps a shorter and less concentrated and therefore easier way to get

but there is an immense amount of the doing in the most direct of ways.

the third grade isusually presupposed But,it is not essential to a work on Impro- visation

to expect one person's muscular agilityto be the same as another's

every improviserwill practice some technical exercises dailyif he expects his playing

smoothness and ease to increase But, pieces of great charm may be written or impro- vised

in the early grades: witness Bach's so-called Anna Magdalena's Clavecin Book

exhaustive Alberto Jonas' work can helpon any and every matter that can possibly

a-rise in connection with refractorydigits.

There isa charming lithograph,by Odile Redon,of a 'part of a part'of a tree

out-a window May we not be happy, also,in fragmentary ideas occasionallyin impro- visation.

PRELIMINARY STUDIES FOR A GIVEN THEME

two measures of Sir Henry Gauntlett's Hymn, "University College?

etc (also below)

*"

etc (also below)

etc (also below)

etc (also below)

etc (also below)

etc (also below)

etc (also below)

etc (also below)

etc (also below)

Sequencesbased on both measures

and

throughoutthe whole previousseries

Reverse the measures

IV

etc throughoutseries Include now passing

THE PHRASE

It may seem unnecessary at this late date ofthe world to hold tipinnocent lookingphrasesfor

jxamination,but it is doubtful whether playersgenerallygive"creative thought"to it.Ultimately,

ike this for many typesof experience,a restudyof the phraseis essential

Note the following phrases,allbased on our theme:

Inthe lastmovement of Beethoven's first pianoSonata we have (inthe middle part)a ten measure

phrasethat isinterestingin its"purposefulmovement? Compare itwith the openingtheme In the

the greatmusical sources. "

and Antithesis

a phrase in some piecenew to you Then, put in your own answer, comparing it immediatelywiththat given by the composer. It isa very practicalway to getthe feelingofforward movement that

A hhrase is yotir essential unit.

"phrase questions, usingour now almost too familiar theme

3 Alto partto above;

B Alto and Tenor partsto

above,-e Bass, Alto and Tenor partsto above

fof the phrase,examine the chapterson same in"Homophonic Forms of

numer-THE PHRASE

examination,but itis doubtful whether playersgenerallygive"creative thought"to it.Ultimately,

b) Playbackwards to see effect

phrasethat is interestingin its-purposefulmovement? Compare it with the openingtheme In the

the greatmusical sources *

Thesis and Antithesis

a phrase in some piecenew to you Then, put in your own answer, comparing it immediatelywiththat given by the composer. It isa very practicalway to getthe feelingof forward movement that

A phrase is your essential unit.

Here follow some answers to phrase questions, usingour now almost too familiar theme

rj

a) Place simple Alto partto above;

b) Place simple Alto and Tenor partsto above;

For more extended studyof the phrase,examine the chapterson same in "Homophonic Forms ofMusical Composition" (Schirmer) by Percy Goetschius The given musical examples are numer- ous

and valuable

As part of the phrase,when harmonized, we have cadences, or endings,with the followingusual

and chief classification:"

- Authentic " Plagal " Half " Interrupted

Two generaltypes of endings are those which

a)close on an accent; b)those which close off the accent.

a)Masculine

[See Chopin'sPolonaise in Afor typicalcase of b)]

CHAPTER V

TIME MARKS

So,liningup the usual time marks, we have:"

*For further study ofrhythm and accents see Music to theListeningEar by Will Earhart (Witmark)

CHAPTER VI

MODULATION

(HARMONIC AND MELODIC)

Most everyone, duringhis musical life,studies more or less "at" modulation; which as

However, I rise to say that modulation which bringsthe keys closer togethermay bring,

and usuallydoes force the actual ideas or themes further apart unless the essential the-matic

that the old style accompanist (and recitalist,too, for that matter) attemptedtobring

his piecesinto closelyrelated tonalities and succeeded admirably (asmy experience goes)

in "disconcerting"and divorcingthe themes

Essentials of Formal Modulation

a)A note in common between two chords will helpto swing most modulations:

d)The dominant seventh chord method, such as one hears in vocal studios:

1)A good rule,no matter which of the above ways isused,is: Select your note or chord

3)A modulation must be based in allcases upon a motiftaken from pieceor partbefore,

or pieceor partafter

% using theme of Beethoven's Sonata Op.26,first movement.

Melodic Modulation

a)

b)

Modulation from the givenmotif (inF)to the anthem "Author of Life Divine" (inE) by

Or,suppose it isa festival Sunday and more brilliance is desirable." Let us modulate from

Up to this pointno mention has been made of transposition.This, of course, isa very necessaryphase of our work, but may be postponed for a few weeks After that time the basic theme, using

the many suggestedsequences, should be studied in keys higherand lower by intervals increasing

to a fifth Seconds, thirds and fifths are particularlyuseful intervals in practice.

The American Guild of Organists requires transpositionfor its Fellowship degreebelow and above

to onlya third But, for concert improvisation,itisbetter to include all intervals up to and includ-ing

a fifthabove and below

degree.Observe where stickingpointsare.

these clefs as transposing agents.Or,think ofthese notes for Clarinet as written in A, in Bt;French Horn in F and other keys; Trumpet in Fand other keys.

Alto clef" a seventh below

J

Tenor clef" a ninth below

Soprano clef" a third below

a)

e;

Bass clef" a thirteenth below

Now, third, transpose the melody onlyof the usual two measures, gettingthe 'high points'inrelation to tonic and dominant

One degree up:

3

and so on through keys of B, C#,Ek, E,-after which, transpose:

a) one degree down

g)

i)

" " downfifth up

CHAPTER IX

Perhaps Imitation, as used in inventions, isthe most important one thingto studyand makeoneself an adept in:

l)A very easy lead into the subjectof imitation isthroughthe Anna Magdalena Bach Clavecin

I quote now from the Menuet Note the exact imitation and then the free

2)Next,playtwo or three of the two partInventions of Bach (onein C,one inF,one in a minor).After which continue in writingthe followingstart based upon our giventheme:

etc to eight

measures

3)Write out this Invention first and then 4) improviseone.

In Bach's Toccata in D minor (notthe organ work, but the Clavecin piece)the theme isdevelopedvery much as an improviserwould do it

This example will form a prettycomplete education in imitation It is here quotedin part.Note

the way it sticks to the idea givenout in the firsttwo measures, the varietyof registers,and thebalancingof motion up by motion downwards

Play slowlyfirst,then with gayety

""! vaw

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i I KjM

9 " 0 " " 1 ii j"

CHAPTER X

TWO PART CANON

-sarjtoeven elementary improvisation.Finish,in writing,the few 'starts' of canons here suggested

For further studyof canons, ifdesired,see Bach's 30 Goldberg Variations,most of them canons

at many different intervals. The free parts are models of their type Violinists and pianistsmay

care to studythe Franck Violin and Piano Sonata, last movement.

CHAPTER XI

-many keys

Note to organists:

3) Then, re-examine the effect of all 4, 8,16 and 32 foot couplerson each and

effects

CHAPTER XIIIIMPROVISATION IN ACCOMPANYING

To the writer, songs never should have improvised connecting links Their arrange-ment

in Schumann's "Papillons"the juxtapositionof tonalities without bridge making.]

*

However, not all playersfeel this way. So,a brief statement of the case is that the

accompanist can make the followinguse of improvisation:

are sudden;

2) To quieta more or less sociallyinclined audience at the beginningof groups.Concerning the first pointthe good practice always is to use a motif from the just

weaving of a motif from the new song tnay be used effectively.After which- a slight

simplestkind of chords/ Preferablythe latter But, again,a- pause