Specialisms Improvising Ornamentation
The positive effects of improvisation was demonstrated and ideas were developed, how the recognition of improvisation can be improved.
We need a good vocabulary (knowing how to choose appropriate words) and we also need to know the context in which we are inserted, so that the words make sense. This explanation is interesting, but let’s talk about something more practical now: how do you learn to improvise after all? Well, there are some secrets to becoming a good improviser. We will talk specifically about solos here in this topic, but the concept is the same for the other aspects of improvisation in music.
Some works required performers to combine at random “building blocks” of brief musical phrases or entire sections presented by the composer; it has been asserted that such a process embodies a more profound creative collaboration between composer and performer than does the interpretation of a fully notated work or the express but limited freedom accorded performers at crucial moments in certain fixed compositions (e.g., the da capo section of an 18th-century aria or the cadenza near the end of a solo concerto movement).
Gravet, Nicole. “L´Orgue et l´art de la registration en France du XVI e siècle au début de XIXe siècle.” Editions Ars Musicae, 1996.
Guédon, Joseph. Nouveau Manuel complet de L´Organiste, Paris, Encyclopédie-Roret L. Mulo, Libraire-Éditeur, 1905.
Grove Dictionary of Music and Musicians. Edited by John Tyrrell and Stanley Sadie. Oxford: Oxford University Press. 2001.
Guide de la musique d’orgue. Librairie Arthème Fayard, 1991.