Though improvisation was a valued musical skill hundreds of years ago in the European tradition, the art of musical improvisation has been lost in the Euro-centric musical conservatory setting. The written note reigns supreme in academy of “classical” music. Though improvisation is valued in the traditions of Jazz, Black American music, Indian music and in music of the Middle East and sub-Saharan Africa, most students in the American conservatory have little to no experience with these music types. When students are given opportunities to improvise in an academic, concert band ensemble, many students do not even attempt it. They judge their work as inferior before they even try. They want to know how, but they are scared of sounding “bad.”

By learning new methods to teach improvisation and engaging students in the art of improvisation as part of the concert band curriculum, students will recognize that they not only have the capacity to improvise, but that their ideas are worthy of performance. They can gain a new-found sense of musical creativity, contribution, and purpose. They can engage with their colleagues in new and unique ways.

As orchestral positions (those positions which do not require improvisational skills) are declining, the more versatile the player, the more employable they are. As our culture becomes more heterogenous and values “non-white” music-making, this will bring with it more improvisatory music-making as well. The professional music world is changing. The curriculum needs to provide more improvisatory opportunities to increase students’ versatility.