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40 Lessons in how to correctly play improvisations.

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Extensions and Codettas
The foregoing lesson was concerned with the texture of the musical material; it will be well to consider now how to extend the short movements studied in Lesson X XIX.
The difficulty for the average keyboard student is to remember what has been played. It is then helpful to notice that, in general, reproductions need not be exact. Even in written music it is seldom that we find what pur­ports to be a repetition exact in every detail; therefore, with the ephemeral music we are considering, this need not be a source of anxiety.
Nevertheless, essential features should as nearly as possible be reproduced, so as to be clearly recognized; and to acquire the power of doing this it is well for the student to practise with much persistent repetition in order to strengthen the memory.
The simple two- and three-part forms can be enlarged by some obvious means without much trouble.
It is always permissible to repeat any musical statement at any place.
Preliminary matter may be announced by way of in­troduction; and this may take the form of
(a)   A single note, tonic or dominant, calling attention to the key;
(b)   It may be a fragment of melody, indicating what is to follow;
(c)   A figure of accompaniment.
At the end of any period the second phrase may be repeated, either
(d)   After the perfect cadence, or
(e)   By changing this cadence into a 'deceptive resolu­tion' (to the VI chord or other harmony).
(f)   The final cadence may be repeated in various forms.
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