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AN
ESSENTIAL
ELEMENT OF
MUSICAL
PROFICIENCY
tq
Bill Dobbins
36 mej/jan '80
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improviser.
nata or an Art Tatum solo is, by itself, no more an indication of musical creativity than is the ability to
mej/jan '80 37
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folk performance. Baroque, Classical, and jazz musics also share the
tional and intuitive aspects that en- sion, and fragmentation, as well as
highly advanced in terms of melodic and rhythmic development. Convincing harmonic progressions are
usually composed of several interdependent melodic lines that, together, suggest harmonic movement in relation to an implied tonal
center or key. Harmony can be
used effectively to increase the color and density of the melodic and
rhythmic content when this complexity seems appropriate. Furthermore, the tendencies of resolution
inherent in common harmonic proment are realized at the moment of
tive study of this aspect of melody gressions can be used to great adperformance. The Classical fantasia in European classical music. More vantage in heightening melodic and
rhythmic tensions or expectations.
or fantasy was remarkably similar in specific melodic designs include
concept. In fact, many musicians
call and response, groups of either Because harmony is the most signifand theorists of the eighteenth cen- similar or parallel phrases, simple icant Western contribution to world
music, any Westerner aspiring to
tury went so far as to contend that ternary forms, and phrase repetiif such a work were written down it
tion. These forms are often develbecome a musician in any meaningful sense of the word should begin
could no longer be called a true
oped further through phrase extenfantasia. In our own time a definite
by thoroughly mastering the prinsion, fragmentation, and various
ciples of functional harmony from
similarity exists between the freetypes of sequential patterns. It is
the eighteenth century to the presform improvisations of avant-garde
important to note that the most
ent day.
jazz artists such as Cecil Taylor, Paul commuhicative melodies are usualA skilled improviser in any tradiBley, and Anthony Braxton and the
ly developed from short motivic
tion, then, must be able to deal
variations that occur in performfragments of extreme clarity and
38 mej/jan '80
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A historical overview
A skilled improviser in
any tradition must be
able to deal with the
relevant elements of
melody, rhythm, and
harmony in a spontaneous and expressive
manner. These music ele-
has survived.
meaning to a listener. The highest ments happen to be available at theously improvise fully developed
fugues, inventions, passacaglias, and
time. Improvisation in folk music
mej/jan '80 39
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Jazz
There can be little argument that
jazz represents the most highly developed form of music improvisation currently practiced in the Western hemisphere. It is also the only
Western art form of our century
that has evolved legitimately from
on any given subject. Bach's Musical Offering was, in fact, the result
of a fugal improvisation on a theme
given to him by Frederick the
Great.
Keyboard parts in Baroque chamuse is, unfortunately, relatively unber music were meant to be spon- disciplined, usually involving free
derlying desire to restore sponta"complete" editions that have been neity and creative interaction to
be categorized.
The concept of music as an extension of a person's being relates
to the jazz musician's unification of
cologists. Thus, the greater part of a tigations by classical composers of arranger. It was precisely the fact
that most of the members of Duke
contemporary Baroque interpreter's lyrical melody, conventional
creative work has been removed.
Ellington's orchestra were skilled
rhythms, and tonal harmony also
40 mej/jan '80
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real meaning for young players unand coloristic range beyond that of
most twentieth-century classical muless they hear what they are playing
have remained virtually unknown to contribution to world musics. Amermost classically trained contempo- icans should feel the same admir-
The third important characteristic rary composers. It is strange, inof the jazz tradition is its tendency
deed, that many American musitoward inclusion and assimilation
cians show great enthusiasm for
rather than exclusion and elitism.
ation and respect for Duke Ellington that educated Europeans feel
far too often, they are inexcusably nized at all levels of music education as the single truly indigenous
ignorant of a rich music heritage
ern music history. Since its initial
from their own country that contin- American orchestra. It seems ironic
ues to evolve within their own lifedevelopment by black Americans,
that ensembles that perform pritimes.
jazz has readily assimilated elemarily nineteenth-century European
ments from such diverse traditions
music generally receive the most atas European impressionism; Indian, Educational potential
tention in terms of budgets, reLatin American, and African musics;
hearsal time, and administrative
In sum, improvisation is a comand numerous American common thread running through the
support, while ensembles that permercial styles. Yet in every new hy- musics of the world. For jazz musiform contemporary American jazz
The flexibility and adaptability of
in musically educating our chiland fully functioning part of a per- dren? Do we wish to educate them
son's creative skills. It should be
so that they can dutifully perform
taught through an approach that in- for our own edification and entertegrates ear training, sight-reading, tainment in the concert hall or on
instrumental and vocal technique, the football field? Or do we wish to
and theory into a unified and com- educate them so that they can enplete understanding of music as a rich themselves through musical
signed, students should be encour- for the future of music than the recaged to spontaneously vary and em- ognition, cultivation, and love of
bellish the melodies and rhythms as that process. For it is certain that
if there is no real music inside us,
soon as they have mastered the
the sounds that we make will reoriginal versions. Methods should
be developed that motivate students main no more than cheap, empty
imitation.
toward expressing themselves
physical experience: loosely flowing through the music they play rather
than competing with each other in
mechanical precision. The study of
harmony should be included in in-
language.
own money.
often must find time to rehearse after school and raise most of their
Selected readings
mej/jan '80 41
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