Evaluating my improvisation on a CD
Improvising an accompaniment to a written song is an exciting way to use improvisation in real life with other musicians. On the other hand, doing it for a cd recording is a bit scarier! The cd just came out and I thought: what better way for me to learn than to analyse my own improvisation? I hope it is interesting for you too!
01:06 Situation
01:44 Stylistic Background
05:08 Approach
05:40 The Right Notes
06:44 Is It Accompanying Enough?
07:46 Melodic Content
10:12 Harmonic Content
11:10 Rhythmic Content
12:21 Structure
LINKS
The CD came out at the beginning of the year. It can be heard in its entirety on KZread and Spotify:
open.spotify.c...
• Revolutie! - De Straat...
The specific track I'm talking about is here (Op de Aristocraaten):
open.spotify.c...
• Op de Aristocraaten
Read more about the project on the Camerata Trajectina website:
www.camerata-t...
Paisiello & amateur pianist Hadrava Improvising a Duo | Improvisers from the Past
• Paisiello & Hadrava Im...
The Art of Ornamentation according to Tartini
• The Art of Ornamentati...
Starting with two notes: Improvise Your First Prelude with Czerny
• Starting with two note...
ONLINE BAROQUE ORNAMENTATION COURSE - learn to improvise baroque ornaments inspired by Quantz's fascinating pedagogy:
www.thescrolle...
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An additional comment about style: I realised I didn't actually discuss style in terms of style periods. The song is from around 1800 so the classical style would be appropriate. We also used instruments mostly from around that time. As I mention in the video some more chromaticism would have probably been more appropriate for this type of style and my improvisation could be called a little outdated by that time. At the same time, The Netherlands was one of those places a little bit behind in that time and I feel especially in the song culture, imagining an oboe accompaniment to be still a bit more galant. Although I would have thought some more variation in rhythm would be appropriate as well, the contemporary aria for oboe, piano and voice I found from this time is also mostly quite square rhythmically. As mentioned in the video some more appoggiaturas would have been nice and additionally we can see the occasional use of triplet figuration and articulation variation (staccato runs or 2 notes slurred + two articulated) as well, which I think is quite typical of the galant and early classical style. So this would have been a nice addition as well. Here is the link to the contemporary aria: vmirror.imslp.org/files/imglnks/usimg/5/53/IMSLP82464-PMLP167898-jc_bach_tenducci's_rondeau.pdf