The Place of Improvisation in Classical Guitar

The place of Improvisation in Classical Guitar
In terms of structure: try to create paragraphs of equal length and write in full sentences. Also,
make clear connections between the different paragraph. It will help to make a more
argumentative and less descriptive text.
If we speak of Improvisation in classical guitar, it is, nowadays, (as in other instruments, but we
are focusing on this particular instrument) very rare to find it as a common practice,
furthermore, as a habit in live concerts.improvisation is hardly part of the performance
practice of the classical guitar, both etc… . There could be many logical explanations why this
happens. If I had personally point out those aspects, I believe that :
tThe demands of the instrumental examinations in music schools are very time consuming,
leaving few spaces for actively practicing improvisation. The main subject holds a big role in
the education program in most of the conservatories, and there is a minimum time of
repertoire to perform at the end of the year, therefore, those exams are prioritized, leading
students to a centralized study on those pieces.
Further, tThe priority given by teachers on existing repertoire in relation with improvisation is
clear and logical. Due to those evaluation responsibilities that students have, teachers are
encouraged to prepare their pupils to for the upcoming projects and examinations, being most
of that program set pieces/composers.
The negative connotation in classical music linked to improvisation can also create a
psychological block for the players, and a certain “resistance” to adventure themselves into
study classical improvisation. As we mentioned earlier, in baroque period the development of
improvisatory forms was abundant, therefore, if we speak of solo and continuo players of early
music, improvisation has a different meaning, and their exploration in the area is rather strong.
However, for musicians who specialize and adventure deeper into historically further
repertoire, improvisation “receives” that unfortunate image of lack of discipline and structure.
This can be unmotivating for performers to follow this art.
The lack of methods for learning improvisation in the instrument. Although there is some
literature and sources about improvising, there is not much material that leads you to good
pedagogic paths. Add a footnote with existing methods. This presents one of the main reasons
why I have worked in this research, hoping that the guitar community has more objective
information on how to specialize on this practice.
Another reason for the lack of improvisation in classical guiter playing might be tThe lack of
experience from the teachers on the area. Since most of them also face the issue of weak
improvisation education in music schools, therefore, even having a significant musical level
and many years of interpretation, they might not be necessarily comfortable with teaching
that kind of practice.
The music world we live in rarely demonstrates improvising players in the field of classical
music, which could transmit an idea of lack of market for this kind of interpretating art.
Although this is partially true, I think the combination of the previous points leads to
inexperience of the big artists in the improvising field, and consequently, they are not able to
present it live. Let’s not forget that most relevant artists in the classical guitar world are mostly
competition winners. This is also important fact for people to prioritize the focus on traditional
repertoire and written music
I reienforce the need of separating the topics discussed in this research from Jazz
Improvisation; in that style, improvisation is a component of daily basis, and explored in all
possible ways. This lack of improvisation inclusion that we speak of is specifically in the field of
classical music.
In some conservatories, especially in superior education, there is already Improvisation

related to classical music programs offered. As positive as this is, most of the times it is still not
totally adapted to our instrument, therefore, I believe that the need for research that helps
future aspiring improvisers in classical guitar grows.
Here are a few examples of some big names of the guitar improvising with students; this leads
to one of the most basic and effective forms of improvisation, which is playing along with
others, for instance, one performer with harmonical accompaniment, another with melodic
part, within the character and tonality of the piece.
Yamandu Costa
https://www.youtube.com/watch?v=VNeZ7XF2DUc&ab_channel=parisBbg
Another recording, this one from Antoine Boyer, guitarist that as started his studies as a
classical musician but later developed himself in the Jazz field. Currently, although his style is
already running a lot away from the traditional classical style, many moments of his
performance clearly include classical progressions and I dare even say classical mentality, with
a lot of secondary dominant relationships and suspensions which can be traced already in
baroque pieces. Carefully listen and enjoy this moment in the 2017 Taipei Gypsy Jazz Festival:
https://www.youtube.com/watch?v=APTPFk55qZU&ab_channel=Wei-SunArts
One of the most famous classical guitarists working in the field of improvisation is Dusan
Bogdanovic, which I had the honor and pleasure of interviewing (check Chapter 5 of research).
Here are some recordings of him varying with motifs and material from Bach, introducing his
playing with written pieces and continuing with spontaneous creation, however, within the
characteristics and style of the baroque composer:
https://www.youtube.com/watch?v=3m_Zr0QI1lA&ab_channel=DusanBogdanovic
One other classical player that has been present in this area, is Roland Dyeas, who has
unfortunately passed away 3 years ago. Roland has made some fabulous arrangements and
compositions inspired in popular and traditional features from diverse countries, and it was
very common, such as the concert I saw in 2015, in Fatima (Portugal) that he would start his
concert with a small improvising moment, where you could see his obvious influences on those
styles, with advanced and refreshing harmonical and rhythmical material:
https://www.youtube.com/watch?v=hMeWC4D33vU&ab_channel=jecmy
This leads to another point which I would like to refer and consider vital for your improvising
skills, which is composing and arranging.
Composition is an insightful and creative way of exploring your instrument; as you attempt to
put your musical inspiration in paper, you notice many details about your personality and your
preferences as a musician, but you find the best ways to express your feelings, either
theoretically, either physically; this is, the shapes and positions that go towards the musical
effect that best transmit your language. Therefore, I strongly advice you to compose; create
certain passages and chords which become a reference for you, so you can further explore
your improvisation through the knowledge you gain with experience and time. Many
composers are able to think out of the instrument, therefore, don’t need to have them in their
hands to reach their desired result. This is also absolutely valid; however, as you try diverse
positions, shapes, combinations throughout the guitar’s neck, you can discover more about it’s
potential, and maybe find out easier but also more expressive technical arguments to transmit
the knowledge. I provide a small example:
This small melody can reach different levels of expression or a totally different meaning
depending on the strings you play it; quantity of vibrato you put in it; sul tasto or ponticello;
etc:
Another passage, now differenced by the use of higher positions for bigger vibrato and darker
sound:
A similar result can come by arranging. Obviously, when you are arranging/transcribing, you
should look for being the most respectful and truthful possible to the scores, and what the
composer of those pieces was aiming for. My point is that you can discover and decipher many
interesting aspects about your instrument if you carefully analyze all the possibilities for the
execution of that material. With this, more tools for your improvisation in classical guitar will
surely appear.
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In some conservatories, especially in superior education, there is already Improvisation

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