Limitation and Transformation as Creative Processes in Solo Improvisation
Presentation at the conference Early Music Pedagogy Then and Now, Brescia, 09/12/2022
Throughout the centuries, musicians learned by taking musical ideas from past composers, and transforming
them into something new. They learned by choosing musical limitations found in existing works, and exploring
what more is possible. Many composers wrote pieces which demonstrate these processes, being either
arrangements, or based on an existing melody, motive, or ‘obbligo’ (task or limitation). These pieces may be
intended as didactic models for learning composition and improvisation.
In this presentation, I analyse solo ricercares mainly by Bassano, Gabrielli and Virgiliano. How do these pieces
use limitation? For example, with a certain range and mode, there are many possibilities of melodic shape and
cadence. How are musical motives and diminutions developed or transformed? Is it then possible, to use the
same ideas, limitations, and means of transformation to improvise something new? In much the same way, we
might practice incorporating existing words into a sentence when learning a language.
Most 16th Century solo ricercares are monodic, but often suggest imitation through change of register. Ricercares
with imitation in several parts are common for ensembles or keyboard instruments. However, solo violin can
also play more than one part, using double stops. I will present some contrapuntal devices in polyphonic works,
and how they can be practised and applied in solo violin improvisation.
Finally, I explore some ways to transform a polyphonic madrigal into a solo improvisation, sometimes staying
close to the original through arrangement or paraphrase, and sometimes moving further away. An improvised
ricercare can be an end in itself, but can also be used as a tool for learning a piece, researching its musical
elements, and getting to the heart of style.