The Art of Instant Music

“Jazz musicians learn to improvise. Classical musicians learn mostly to perform.” Mostly true, but there is one notable exception to the latter: organists.

Many organ greats were known for improvisation, including Marcel Dupre, Cesar Franck, and Jean Langlais. In fact, many of their works were initially improvised and later transcribed (including Dupre’s Symphonie-Passion). Unlike most classical instrumentalists, who may improvise some but do not emphasize it, how have organists such as these come to produce such magnificent works off the top of their heads?

Much of this comes down to the nature of organ music, which is most commonly used in church services. According to Whitney, author of the first linked article, we in the United States are mostly used to what I will call functional improvisation. This may include filling time in a service if a song was not long enough or in order to move from one piece of music to another, possibly having to change keys, meters, and the overall feeling of the music. But while important, this type does not quite capture the rich European tradition of improvisation.

The European tradition as described by Whitney is improvisation standing on its own, for the sole purpose of improvisation. Dupre and Franck would often improvise entire offertories--based on a given (usually) chant theme or the creation of completely new material. Both of these types of improvisation have contributed many works to the standard organ repertoire. But there are many highly skilled improvisers that are not renowned composers--what goes into the process of making a great improviser, and their process of creating a great improvisation?

The process of improvisation differs from most other forms of creativity in the temporal sense. It is done on the spot, with little to no preparation. It even differs from “formal” music composition for all of us that are not Mozart, who famously composed full complex pieces in his head, wrote them down, and had a masterpiece. Nonetheless, the skills needed to compose and those needed to improvise greatly overlap. They include general music skills, as well as improvisation-specific skills that most formally trained organists study as part of their degree programs, including:

• Knowledge of music theory - in order to improvise, fundamentals are necessary. Theory teaches what sounds good and how to not only correctly but artfully construct harmony and counterpoint.
• Knowledge of music history, style, and form - if an organist intends to improvise in the style of a specific composer or time period, it is imperative that they are familiar with that style. Additionally, keeping a structure can make or break an improvisation--something I am personally still working on.
• Collecting themes, motives, and interesting harmonic and rhythmic material - collecting, which is an important part of all creativity, is particularly crucial in improvisation. I once saw a suggestion that organists keep an eye out for "easy to plagiarize toccata figures." While amusing, it rings true--if you find a catchy rhythm or melody, keep that in mind to integrate into the greater scheme of an improvisatory work.
• Fluency - the improviser needs to be able to keep going and keep creating on the spot. Seems easy, but isn't. 

The very act of teaching improvisation to organists shows that it is a skill that can be cultivated. I would argue that a good improvisation can reveal an organist's personality even more than the best musicianship and artistry demonstrated through an already composed piece. Organists have the opportunity to improvise much more than does your average classical musician, which I think is a blessing to all. There's something about the spur of the moment creativity that bares one's mind and soul to the listener.

(Title source: organimprovisation.com)