Interluding: Identifying practice methods for classical improvisation on the Violin

Ruth Mareen

How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert? The objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces. First, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.

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2) After exploring a certain sound language in a very intuitive way, I like to read a little bit about the certain composer or style to mix intuition with knowledge.

For example, Löfdahl’s ‘Approaching Piazzola’s Music, Analysis and composition in interaction' describes typical stylistic approaches by Piazzolla. I found the following useful ideas:

-Typical rhythms: 3+3+2 or 1+3+3+3

-Descending chromatic line over a pedal bass

-Descending chromatic line over a bass line that follows the circle of fifths: D13/D Db13/G C13/C B13/F Bb13/Bb A13/Eb Ab13/Ab G13/Db

I practiced these ideas in a couple of different ways by using different notes for the rhythms and different tonalities for the harmonic ideas. Afterwards I applied them in an improvised solo similar to the first exercise. I found that adding a little knowledge inspired me to play with ideas I wouldn’t have only by intuitively playing along with the recordings.

3) Record a repetitive accompanying figure fitting in the style and improvise over this accompaniment. When this is mastered the improvisation can be done without the accompaniment. The repetitive figure is then only mentally present. This exercise is inspired by one of the exercises of violinist Sarah Stiles.

To make a clear transition from one piece to another, a good sense of the used styles or atmospheres is required. Rhythms, melodic motives and harmony are some first concrete steps to achieve this sense of style. However, every composer or era brings their own typical 'je ne sais quoi'. This exercise pool wants to help to improve the intuitive feeling of a style by a certain composer. Some of the tips below are less concrete as in the previous two pools, but nevertheless they proved to be helpful for me.

1) Play along with recordings of pieces you don't know by the same composer or in a similar style. Without thinking too much just play whatever comes to mind. I found myself answering or copying certain phrases. I found that the key is to not give up too soon when not sounding great in the beginning. So I tried to find recordings that were at least 20 minutes.

To illustrate the value of this method I recorded a solo in the style of Piazzolla before and after playing along with an extensive live concert by Piazzolla's quintet.

Before:

After:

STYLE

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CONNECTING IDEAS

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