Pathways to Improvisation: a classical guitarist explores and implements techniques of Improvisation into performance practice

Abstract

This thesis explores the integration of improvisation into classical guitar performance practice, addressing the question: How can an expert classical guitarist incorporate and establish improvisation in their performance? Once integral to Western classical music until the late 19th century, improvisation is often overlooked in modern classical music education despite its recognized benefits. Reflecting on this gap in my own training and the broader decline of historical improvisation practices, this study investigates how classical performance techniques and improvisational practice routines can be synthesized. Grounded in a practice-led methodology that emphasizes creative exploration as inquiry, the research incorporates qualitative interviews with renowned improvising classical guitarists, tertiary studies in improvisation, and the development of a unique approach to visualizing the guitar fretboard. These elements culminated in a practice book of musical phrases and a structured pathway for learning improvisation on the classical guitar, systematically demonstrated through both a research paper and a recital. Key findings underscore the importance of technical proficiency, mastery of musical fundamentals such as transposition, phrasing expertise, and adaptable practice routines. Implementing these insights led to a reconceptualization of the fretboard, the acquisition of new musical vocabulary, and the seamless integration of improvisation into performance practice. This study advocates for reintroducing improvisation into classical music curricula, proposing supportive environments for experimentation alongside a practical model for its integration. By embracing improvisation as an essential skill, the research aims to enrich classical performance and education, unlocking new dimensions of creativity and expression for future musicians.