Improvisation in Baroque and Jazz

Improvisation in music can take many forms; however, it is generally based on the performer's creative power to make up series of elements on the spot with basic or no pre-written instruction. For example, a performer might be given the opportunity to improvise a rhythmic sequence, an accompanying harmony, a melodic line or even all three at once.

            Improvisation has always been a major component in many styles of music, and dates back to its beginnings. In early music, call and response forms were dominant. This allowed for a great deal of improvisation on the part of the soloist singer as well as the participating audience.

            In Jazz music, improvisation, or improv, is arguably the most important feature. Although there are many different styles of improvisation, usually matching with a sub-style of Jazz, there are some common elements to most pieces. For one, improvisation is usually not entirely random. While the majority of improvisation in Baroque music occurs in the harmony, improvisation in Jazz can be found in many elements. Melodic lines are often improvised by the lead musician. Rhythms can be improvised through syncopation and the harmony is usually improvised by the bass section of the band.

            In addition to new themes and conventions in drama and visual art, the Baroque period introduced many new ways to compose and perform music. Chords were the focus for many compositions, and figured bass was first used in this period. Figured bass was used to notate music with only chord progressions, so during performances the keyboardist in the accompaniment would improvise the full chord.

            "The new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, [...] With the left hand the organist or harpsichordist plays the bass part, which is also performed by the cellist or bassoonist. With the right hand the keyboard player improvises chords following the indications of numbers (figures) above the bass part. This bass part with numbers (figures) is called a figured bass." (Kamien 128)

            Figured bass was usually found in a form unique to the baroque period, the concerto grosso. The concerto grosso, or "large concerto", consisted of the musical focus being passed between the entire orchestra (known as the tutti, the Italian word for "all") and the soloist or small group of instruments. During this time, an element known as the basso continuo constantly plays a bass accompaniment.