# A framework for learning to improvise in the style of Bach



## JohnCarm (May 31, 2020)

I'm an amateur composer and pianist, hoping someday to reach higher levels. I've always liked improvisation and I've always loved Bach, so I want to learn to improvise in his style.

But I have a love-hate relationship with improvisation. Some people improvise entirely intuitively. They play through lots of Bach and just internalize it.

Note: in all cases, playing through a lot of Bach and internalizing it is necessary! Don't get me wrong!

But I find, for myself, that trying to improvise intuitively amounts to noodling around with no plan----a recipe for repeating myself. It drives me crazy.

But how do I create a "plan" for learning Bach improvisation in stages? We have Fux, of course, a formula for gradually learning species counterpoint. That's what I'm going after, some kind of formula/plan, but Fux is not very Bach-like and not too suited for improvisation.

Here's what I have so far. I've been at this for about a year.

First I learned to play diatonic chord progressions, including strong cadences such as ii V I or ii0 V i, in all major and minor keys. This is mostly four part harmony in first species with mostly root position chords, not worrying too much about voice leading.

I started by creating exercises for myself... specific chord progressions.. and found it easier in time to be spontaneous.

Also I did two part counterpoint on the same chord progressions, with one voice in each hand. Usually one hand is simpler/slower than the other.

Next, I learned to bring in local key areas and secondary dominants. The idea is to plan out a series of local key areas and play strong cadences in each area. like

I IV V I [ii0 V i of ii] [ii0 V i of vi] [ii V I of IV], [ii V I of V] I

At this point my phrases became more like sections with an extended sense of line, and much more resembled Bach.

Do this is in all major and minor keys.

Continue simple four-part harmony and two-voice counterpoint.

Now bring in three-voice counterpoint. The idea is that it's really hard to make three equally active voices, but it's not too hard to get started by having two slowly changing voices and one more active voice. So, practice with three voices, sometimes making the top voice the active one, sometimes the middle voice, and sometimes the lowest voice.

I'm satisfied at this point that I can continue to grow in ability, both to extemporize decently sophisticated counterpoint and to avoid repeating myself and connect to some inner creativity with the help of a structured practice regimen. The only additional ingredient at this point is time. Check back with me in five years.


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## consuono (Mar 27, 2020)

To be short and sweet about it, what I think you should do is study figured bass and the techniques of basso continuo thoroughly.


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## JohnCarm (May 31, 2020)

consuono said:


> To be short and sweet about it, what I think you should do is study figured bass and the techniques of basso continuo thoroughly.


Do you have a recommended way to learn these techniques from videos or books? It's too bad that I don't really have an opportunity to play with an ensemble. I don't have quite that amount of time to put into it and it will take me a while to reach performance-level skill as a keyboardist. But I could work through a book or something, maybe 30 minutes a day.


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## consuono (Mar 27, 2020)

I would suggest two kinda pricey books that maybe could be found cheaper second hand:

_The Performance of Italian Basso Continuo_ by Giulia Nuti

and

_Continuo Playing According to Handel_ edited by David Ledbetter.

Look for them on the online shopping sites.


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