19thcenturyguitarist wrote:That's why Blues and Jazz were invented. To be seperate from the standards of the structured classical mannerism.
You seem to be suggesting that "Blues" as a genre came about as a direct response to classical music. Surely you can't be serious? Even if it was true it would be a failed attempt - a "12 bar blues" is far more restrictive than sonata form for instance.
In fact your post is littered with misconceptions and errors.
19thcenturyguitarist wrote:When is classical ever improvised?
Classical music was often
19thcenturyguitarist wrote:How would you analyze an improvisation yotamz? Is it possible ... I mean, unless your name is W.A. Mozart, there is no way you could analyze a piece without the score
We may not all be Mozart but many, many musicians are easily able to analyse music (regardless of whether it is improvised or not) without seeing a score. I don't know how the system works in the US but over here musicians are introduced to this skill at an intermediate stage of their education eg. listening to and remembering a classical or baroque four voice progression which then has to be written down in score form.
The "grade system" also introduces some of these listening skills at an early stage - beginning with simple melodic recognition and distinction between straightforward major and minor triads - culminating with the identification of modulations and extended harmonies. Not everyone is equally good at it of course.
19thcenturyguitarist wrote:Little do they know that they are structured too
Of course they know - the description "12 Bar Blues" (amongst others) is a direct statement about the structure of a particular musical form.
19thcenturyguitarist wrote:they are structured too, in the rhythm anyhow. Lead work is free.
Rhythm can be improvised just as much as "lead" (I assume that you mean melody - which, in any case is composed of pitch and