EXTEMPORE PLAYING - online tutorial

40 Lessons in how to correctly play improvisations.

A Book By A. Madeley Richardson M. A., Mus. Doc. Oxon., F. R. C. O. , Circa 1922

About This Book
The art of keyboard composing, otherwise called improvising or extempore playing, is an essential part of the equipment of every organist; it is a source of delight and interest to every pianist; and it is a subject that should be studied by every intelligent music teacher. To the organist it is one of the most important branches of study, one without which he cannot hope to fulfil his duties in any sense adequately. And yet it has hitherto been woefully neglected. Although notable and brilliant exceptions are to be found in many directions, it is not an uncommon thing to find organists, in other respects perfectly competent, who have not the remotest notion of what extempore playing really is, as is only too evident from the lamentable failure of the attempts they are obliged by circumstances to make. This is probably due to the fact that the subject is seldom taught at all, and when it is, with very little system. Few manuals upon the art are available, and it is widely supposed that extempore playing is a natural gift, possessed only by the few, and beyond the reach of the many. This is a mistake. It is quite possible for anyone of average intelligence and plenty of perseverance to acquire the art of playing acceptable music impromptu. All that is needed is a simple, clear and straightforward method of work, and a large amount of practice. This is not to say that anyone who studies may become a real composer—that is a distinction reserved for the few, for the geniuses. But it is quite as well within the range of the average person to acquire the power of playing on the spur of the moment music which is correct and pleasing, as it is for the same person to learn to speak correctly without hesitation; although in the latter case he does not of necessity become an orator or a poet, nor in the former case an original composer.

These online books rely heavily on browser interpretation of the code for appearance. Internet Explorer 6 and 7 do not do a very good job on some pages. It is recommended to use Firefox (free download from the link below) which is a better browser for this site.

Temperance Hymn Book And Minstrels, Index & Page Numbers. Deduct 100 from the numbers show to get the original page numbers from the book.

Title Page Copyright Notice Dedication PREFACE PREFACE CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS Lesson I. Introductory. The Scale—The Key, a Tone-family - 0101 Lesson II. Chords, and Their Connection. Importance of Details—Four-part Playing—The Principal Triads—Compass—The Chord of C— Rules for Connecting Chords—The "Foreign" Progression - 0102 Chords, and Their Connection - 0103 Page - 0104 Page - 0105 Page - 0106 Phrases - 0107 Page - 0108 Page - 0109 Subordinate Triads: The II and the VI - 0110 Page - 0111 Page - 0112 The III Chord - 0113 Page - 0114 First Inversions: The Ii, Vi and IVi - 0115 Page - 0116 Lesson VII. First Inversions: The Hi, VIi, IIIi. Diversity of Rhythm. 17 Weak Chords—Use in Scale-line—Three Parts—Diversity of Rhythm: Regular and Irregular— Patterns. - 0117 Page - 0118 Lesson VIII. The Minor Mode. Meaning of "Minor"—Melodic and Harmonic— Chords in Minor—The Augmented Second - 0119 Page - 0120 Page - 0121 Sequences. Various Classes—Extent—General Principle - 0122 Page - 0123 Lesson X. Second Inversions: The I2 and the IV2. Rule for Bass—Three Uses—Six Devices—Ap­proach to the Perfect Cadence—Illustrations— The Stationary Bass—The Passing 4—Illustra­tions - 0124 Page - 0125 Page - 0126 Lesson XL Other Second Inversions—The Scale Harmonized—The Period. The V?.—The II2 and VI2—Scales Harmonized— The Period—Parallel or Otherwise - 0127 Page - 0128 Page - 0129 Lesson XII. Discords. Nature and Effect of Discords—The Suspension —Specimens, Descending and Ascending. - 0130 Page - 0131 Page - 0132 Lesson XIII. The Auxiliary Note and the Passing-Note. The Auxiliary or 'Neighbour'—In General— Possible Varieties — Combinations—Elision —Two Kinds—The Double Neighbour—The Passing-Note—Possibilities and Complications— Illustrations. - 0133 Page - 0134 Page - 0135 Page - 0136 Lesson XIV. Fundamental Discords. The Dom­inant Seventh. 37 Origin of the Dominant Seventh—Preparation not now Necessary—Rule for Approach Resolution Modern Methods General Rule The "Normal" and the "Deceptive" Where to Use the Chord - 0137 Page - 0138 Page - 0139 Lesson XV. Chord-Repetitions. General Principle Movement of Seventh - 0140 Page - 0141 Lesson XVI. Passive Resolutions. The Stationary 7th Various Successions Il lustrations Three Alternatives - 0142 Page - 0143 Lesson XVII. Dominant Ninths. 44 Treatment of 9ths Methods of Use Five Parts Omission of Root - 0144 Page - 0145 Lesson XVIII. The Chord of the Added Sixth. 46 Its Explanation and Origin - 0146 Page - 0147 Lesson XIX. Modulation. 48 General Idea Next-related Keys Methods 1, 2, 3 and 4. - 0148 Page - 0149 Lesson XX. Modulation {continued). 50 The Stride Easy Descent Suggestions - 0150 Page - 0151 Page - 0152 Lesson XXI. Modulation {continued). Other Devices. 53 Methods Tabulated Transient and Deliberate Influence of Accent and Rhythm Transitions at Repetitions, Sequences and Cadences Change of Mode - 0153 Page - 0154 Page - 0155 Lesson XXII. Chromatic Tones. As Passing-Notes and "Neighbours" Rule Combinations Illustration The Lower Neigh­bour Chromatics by Ellipse Chord-lines with Chromatic Neighbours C ombination s - 0156 Page - 0157 Page - 0158 Page - 0159 Lesson XXIII. Melody. Fundamentals. Connection between Melody and Harmony Ancient and Modern Melody The Outline and Rhythm Unity and Variety Three Possible Courses T he Melodic Curv e R e p e t i-tions Scale-steps Rest Tones and Moving Tones Natural Tendencies Narrow Leaps - 0160 Page - 0161 Page - 0162

Page - 0163 Lesson XXIV. Melody: Scale-lines. Analogy of Physical Movement Inertia Irregular Movements Simple and Compound Movements - 0164 Page - 0165 Lesson XXV. Chord-lines and Intervals. Materials of Melody The Arpeggio; its In­fluence, and an Inference Illustrations Two Points The Wide Leap Illustrations and Rules Modifications An Exception The Approach - 0166 Page - 0167 Page - 0168 Page - 0169 Lesson XXVI. Rhythm {resumed). Its Importance Various Groupings The Accent Diversified Rhythm Repetitions Scale-lines Chord-lines Importance of Restraint - 0170 Page - 0171 Page - 0172 Page - 0173 Page - 0174 Lesson XXVII. Accompaniment of Melody. Simplicity Partial Accompaniment Four-part Accompaniment - 0175 Page - 0176 Page - 0177 Page - 0178 Page - 0179 Lesson XXVIII. The Period {resumed). 80 Analogy of Language The Two Phrases Com­pared Parallel, Complement, Antithesis - 0180 Page - 0181 Page - 0182 Page - 0183 Lesson XXIX. The Tune. Twofold or Threefold Construction Example of Two-part Construction Its Analysis Example of Three-part Construction Its Examination Character and Style Manner of Render­ing - 0184 Page - 0185 Page - 0186 Page - 0187 Lesson XXX. Unifying Devices. The Intellectual Side of Music Beethoven Repetition of Groups, Exact and Varied Further Classification Chromatic Sequence Diatonic With Change of Mode Melodic Unessential Variations Number of Occurrences Sequence Pitch Opposite Construction Reproduction of Characteristics Horatian Encouragement - 0188 Page - 0189 Page - 0190 Page - 0191 Page - 0192 Page - 0193 Page - 0194 Lesson XXXI. Extensions and Codettas.The Memory Difficulty Essential Features Means for Extension Preliminary Matter Re­petition and Various Other Devices - 0195 Page - 0196 Page - 0197 Page - 0198 Lesson XXXII. The Pedal, or Organ-Point. A Primitive Device Its Origin Its Modern Use Many Varieties Principle of the Pedal Tonic, Dominant, "Pastoral" Extent of Pedal - 0199 Page - 0200 Page - 0201 Page - 0202 Page - 0203 Page - 0204 Lesson XXXIII. The Organist's Work. His Opportunities Prelude to Service Prelude to Choral The Proper Thing Illustrations Postlude to Choral A Strong Condemnation Interludes "Playing over" A Protest Illus­trations of Use of Chant - 0205 Page - 0206 Page - 0207 Page - 0208 Page - 0209 Page - 0210 Page - 0211 Page - 0212 Page - 0213 Lesson XXXV. Further Harmonic Developments. Altered Chords The I, the V, the IV, the II, the VI Lowered Tones "Neapolitan Sixth The Minor Mode "Mixed" Chords; Three Varieties. - 0214 Page - 0215 Page - 0216 Page - 0217 Lesson XXXVI. Enharmonic Changes. Meaning of the Word. Ancient Use Modern Use Change of Notation Possibilities of the Diminished Seventh; of the Augmented Fifth; of the Dominant Seventh - 0218 Page - 0219 Page - 0220 Page - 0221 Page - 0222 Lesson XXXVII. Organists' Modulations. A False Idea True Principles Enumerated Proper Place for Modulation - 0223 Page - 0224 Page - 0225 Lesson XXXVIII. Modal Music.Main Points Explained The Ecclesiastical Modes Tabulated Modern Intervals only Approximate Modern Uses of 'Modal' Tunes The Harmonic Problem A Practical Guide The Scales Harmonized Varied Ancient Modes and Free Rhythms United - 0226 Page - 0227 Page - 0228 Page - 0229 Page - 0230 Lesson XXXIX. The Larger Forms. The Highest Achievement A Rare Accomplishment Six Classes Variations The Ground Bass The Rondo The Fantasia. - 0231 Page - 0232 Page - 0233 Lesson XL. The Sonata and the Fugue. A Perfect Result Many Varieties Analysis of Sonata-Form; in Detail The Student's Work The Fugue Two Lines Combined Analysis of Fugue-form - 0234 Page - 0235 Page - 0236 Conclusion - 0237