# Impromptu writing, How?



## caters

So I am trying to compose an impromptu. I know that it is a piece where it supposed to sound improvisatory in nature. I have the first 10 measures down and honestly, only the last 2 sound like they were improvised. Scalar sixteenth notes going across the entire scale(and almost the entire bass clef range as well) over a single C minor chord.

The ones before it sound very formulaic, like a sonata theme almost. Of course, this is only the introduction and I will have a transition where the music slowly accelerates from the slow Allegro it is at right now to a Presto tempo and then have the A section be at Presto.

This is what the first 10 measures sound like:

View attachment Impromptu_no._1_in_C_minor.mp3


That almost formulaic sound of most of the measures kind of goes against what an impromptu really is. But I assume this is okay for an introduction and that as long as I have that Presto section sound improvisatory in nature, there is nothing wrong with me calling it an impromptu, even with the formulaic sounding introduction.

I chose the key of C minor because this is the key in which I find improvising to be the easiest. I also can easily do something like bVII -> I and it sounds to me, just as good as Vm7 -> I. V7 in C minor to me gives too much of an expectation that the next chord will be C major. Of course, if I wanted to modulate to C major, I would likely use this dominant 7th chord.

But is there anything that would help in writing an impromptu besides improvising?


----------



## tdc

I think it is the kind of piece one should only compose when they have a certain mastery over improvisation. If you are not far into it and concerned about the technical construction of it, I would consider turning it into something else like a sonatina. Move onto an impromptu when you can get all or the majority of a piece down in an improvisation, making only small alterations or finishing touches at the end.


----------



## Vasks

I'd take what tdc said even further and say that your nature (from my POV) is to be analytical and trying to always follow or set rules for your composing. That's probably what makes Impromptu writing foreign to you.

However, my advice for composing a fantasy or impromptu (they're really the same) is to consider not the word "improvise" but rather "intuitive". Intuitive composing allows you to not worry about form, traditional harmony and the like. It's letting your imagination take you to where ever you sense it needs to go.


----------



## Tikoo Tuba

Cut and paste is an elementary form - bit of this and that . Eventually that will seems too stupid , or , maybe clever and funny .


----------



## Larkenfield

Well, how about listening to the Impromptus of Frederick Chopin and Franz Schubert as models? They knew a thing or two.


----------



## John Kiunke

My advice for writing any kind of piece is to study the scores of your favorite pieces in the genre. I like to read the music with the recording at least 3 times for each piece, and if it's my own edition, often circle the main motifs and see how the composer treats them. If I'm reading from a score online or from a library then I do my best to pay attention and find the motifs as I go, as well as look for how the composer gets from key to key, what chords they use.


----------



## Schoenberg

Improvise, then right down what you played with modifications. Although Schubert and others of the past didn't have recording devices, I would personally use on when writing an impromptu.


----------



## Aloevera

What tdc says. The point isn't for it to sound like an improv but for it to be written as an improv and as an opportunity to less loose a little and not worry too much about rigid structure and counterpoint. If you're thinking too hard about it you might as well call it a sonata


----------

