On Free Improvisation (Extempore Playing)

In the strict sense, free fantasia can neither be taught nor learned. Nevertheless, it is possible to offer observations and experiences that may be useful in this field.

To practice free improvisation, the following conditions are required:

 

a. Natural talent

That is:

• Imagination

• Keen insight

• Passionate and lively thought

• The ability to develop, transform, and connect musical ideas as they arise

This also includes the ability to take material from the works of others and develop it as one’s own idea.

 

b. Abilities acquired through a solid education

• A complete understanding of the laws of harmony

• The ability to apply them in various ways

• Complete security and freedom in performance

In other words, the performer’s hands must be capable, in any key, of immediately realizing whatever the mind conceives.

​

And this must be achieved:

• Without consciously thinking about the movement of the hands

• So that it occurs naturally

 

The artist must be able to express ideas on the instrument as naturally as a well-educated person expresses thoughts in speech or writing.

Otherwise:

• Thought may be interrupted

• Confusion may arise

• One may fall into clichés

 

My Own Method of Practicing Improvisation

It may be most instructive to explain how I myself acquired the art of free fantasia.

 

First, I came to thoroughly understand and practically apply:

• Piano playing

• Harmony

• Modulation

• Enharmonic equivalence

• Counterpoint

 

In addition:

• I performed many excellent works by both classical and contemporary composers

• Cultivated musical taste

• Studied musical structure

• Learned how to organize musical thought

 

After this, I would usually sit at the piano in a free state of mind during the quiet hours of the evening and improvise. I used as material:

• Melodies that came to me

• Existing themes

 

In the latter case, however, I did not merely vary them, but:

• Freely transformed them

• Developed them in various ways

• Expanded them in a fantasia-like manner

 

On the Audience for Improvisation

After some time, I began to improvise:

• Before small audiences

• Before both musically knowledgeable listeners and those without such knowledge

 

I placed greater importance on:

• The expressions and reactions of the audience during the performance
  rather than

• Their words afterward

 

For in reality, there is no such thing as an audience composed solely of experts.

Music must also be understood by the general listener. Therefore, it must contain:

• Elements accessible to amateurs

• Elements of value to experts

 

Improvisation in Public

For a long time, I avoided improvising in public. However, after gaining much experience, I became confident that I could improvise freely before any audience—even one of thousands.

I confess that I feel more free and at ease when improvising than when performing written compositions, since in composed works the performer is inevitably constrained.

 

Advice for Amateurs

What has been said thus far applies chiefly to the artist. However, in response to requests from many capable amateurs, I offer the following advice.

Even for amateurs, improvisation requires:

• Basic education

• Technical ability

• Musical understanding

H

owever, the same level of perfection as that expected of an artist is not required. For example:

• Temporary lapses in thought

• Use of conventional formulas

• Technical imperfections

may be tolerated. What is important is patience and consistent practice.

 

Common Problems in Improvisation

A frequent difficulty among amateurs is that their theme quickly disappears.

Even when a melody appears, they move on to another idea before developing it sufficiently.

​

To address this problem:

• Clearly form the theme in the mind before improvising

• Repeatedly test it

• Try it in various harmonizations

 

The Importance of Counterpoint Practice

In learning free improvisation, I especially recommend:

• Performing contrapuntal works such as fugues

• Writing one’s own contrapuntal exercises

 

Through this:

• Order in thought

• Musical structure

are developed.

 

For example, one reason why Wolfgang Amadeus Mozart excelled in improvisation was the firmness of his contrapuntal thinking.

 

On the Prelude

When improvisation is performed before a piece, it is called a prelude.

There are two approaches:

​

1. Introductory type
A method that gradually leads toward the theme of the piece to be performed.

• Begin quietly

• Gradually develop the music

• Ultimately lead into the main theme

 

2. Contrasting type
A method that begins with a character contrasting that of the piece to be performed.

For example:

• A gentle melody before a vigorous piece

• A powerful passage before a quiet work

 

Points to Observe in the Prelude

A prelude must not be too long,
for the listener’s attention must be preserved for the main work.

 

Final Advice

I recommend that all musicians study free improvisation, for it is one of the best means of:

• Improving technique

• Enriching musical thought

• Cultivating the artistic spirit