It presents basic techniques;
church, Bartók, and Messiaen modes; and a variety of formal structures.
Contents
Introduction
Part 1
Chapter 1: What is Improvisation?
Chapter 2: How to Practice
Chapter 3: Analyzing the Theme
Chapter 4: Developing the Theme
Chapter 5: The Exposition
Part 2
Chapter 6: Harmonization with Perfect Fifths
Chapter 7: The Pentatonic Mode
Chapter 8: Harmonization with Perfect Fourths
Chapter 9: Harmonization with Major Seconds
Chapter 10: Harmonization with Major and Minor Thirds
Chapter 11: Harmonization with Major and Minor Sixths
Chapter 12: Harmonization with 6/3's, 6/4's and 6/5's
Chapter 13: Harmonizing a Motive
Chapter 14: Harmonization with Sevenths
Chapter 15: Harmonization with Dominant Sevenths
Part 3
Chapter 16 Charles Tournemire
Chapter 17: Ecclesiastical Modes
Chapter 18: Dorffan Mode
Chapter 19: Phrygian Mode
Chapter 20: Bartok Mode
Part 4
Chapter 21: Olivier Messiaen's Musical Language and Its Importance in Organ Improvisation
Chapter 22: The Second Mode of Limited Transposition
Chapter 23: The Third Mode of Limited Transposition
Chapter 24: The Chord on the Dominant
Part 5
Chapter 25: The Development
Chapter 26: Climax Chords
Chapter 27: Passacaglia
Chapter 28: Song Form
Chapter 29: Louis Vierne's Improvisation Structure
Chapter 30: Scherzo
Chapter 31: Sonata Allegro
Chapter 32: Toccata (Prelude)
Chapter 33: Cochereau Style Variation
Chapter 34: Free Improvisation
Chapter 35: Improvising on a Literarg Text
Part 6
Chapter 36: Claude Debussy
Chapter 37: Maurice Ravel
Jeffrey Brillhart (b. 1955)
A graduate of Drake University and the Eastman School of Music, Director
of Music and Fine Arts at the Bryn Mawr Presbyterian Church, and
Musical and Artistic Director of Singing City in Philadelphia.
