Interpretation and Improvisation

In my classes, I am sometimes asked whether a performing musician should play a piece exactly how it is written, and/or play it the same way at each performance. The answers to these questions depend on what style of music you are playing. For example, if you were playing at a classical recital and you started adding your own notes in the middle of Debussy’s “Clair de Lune,” you would probably get some strange looks from the audience! Conversely, if your jazz trio was playing for a few nights at the Blue Note in New York, and you played a “standard” exactly the same way on two consecutive nights, this might not go down well with the hard-core jazz crowd. Subject to many variations and exceptions, we can make the following broad observations about interpretation and improvisation in the different styles.

Classical: Except in certain experimental or “fringe” situations, you are expected to play the notes that are on the paper (either from memory, or by reading the music). Improvisation (adding your own notes) is not appropriate, which is perhaps ironic given that many classical composers were also noted improvisers in their day. However, classical pianists have major interpretive responsibilities in areas such as dynamics, articulation, phrasing and tempo. Through this interpretation process, the performer’s musical personality will emerge. Considering this, when you play something like Debussy’s “Clair de Lune,” it really may not sound exactly the same each time—make it your own interpretation, while still following the composer’s directions. There is a lot you can put into a performance that is not written on the page!

Jazz and Latin: The majority of jazz compositions are written just with a melody and chord symbols (see comments on lead sheets and fake books in Chapter 14). With the exception of some of the more “arranged” contemporary jazz styles, the chord voicings and melody phrasings are normally improvised by the players. Solos in particular will be improvised on the spot, and a “true jazz” performer would not play a solo the same way twice (although they might have favorite phrases or “licks” that they drop into their solos). Latin styles (such as bossa nova and samba) would also come under this general heading, as they typically use the full range of jazz melody and harmony options, and they have a similar approach in terms of improvisation.

Pop/Rock/R&B: The majority of contemporary pop, rock, and R&B songs are performed within a specific structure or form (intro, verse, chorus, etc.). Most bands playing these styles are performing from memory, although some may be reading from lead sheets or fake books. There is not normally very much improvisation, except for instrumental solos. Even then, the solo may be a “signature” which is played the same way each time as it is a recognizable part of the song. Some rock bands do, however, incorporate more extended improvisational “jams,” notably the Grateful Dead and the Dave Matthews Band.