I'm sorry, this is a poor idea poorly presented (cough). Improvisation includes both musical elements and improv concepts. Just cerebrally truckin' around on the some arpeggios related to the original piece does not reflect the great tradition of improvisation as represented by the great early classical pianists or the great tradition of jazz improvisers who have carried that tradition forward. You can play anything you want if it's in a C scale, then throw in a chromatic here and there, and by the way, I don't know all the modes? Give me a break! You need to learn your sh*t before you put something out on a high end public forum man!Dave FrankDirector, Dave Frank School of JazzNYC
You are sort of preaching to the converted in my case, seeing as I've improvised for as long as I can remember, and whilst I have a (stereo-?)typical style, I can do others.What I would say is that I think you've done this the wrong way round, in that improvising on Chopin 10/1 is almost inevitably going to result in something that sounds like a consequence of the player being unable to play the original. If you started from, for the sake of an example, the 28/7 prelude, then you are giving far more scope for even a relatively unskilled player to add to the original, rather than subtracting from it.
The bit "with an F# in it, even though it's in C major" - I'd say you've got a D7 chord there.
If it’s jist D7 the player is limited to 4 notes. Think the point I was trying to make is any note from C Lydian would worked (or g major scale whatever).
An exercise for classical pianists with a basic understanding of music theory and harmony to improvise on Chopin's first etude. The video is created by Harmony and Color, a project that hopes to revive the tradition of improvisation in classical music.