> There are specific skills you need to be a professional yes, but, what kind of professional?
> even if you could, as some of > the great cornetto players can, improvise in the style of Bassano and > others, this would definitely not land you a job. In itself, perhaps not, but one doesnt get to that level of performance without other skills developing too. Would you have this young lady (or any player for that matter) be less rounded musically? Luckily, improv is a skill one can practice in the mind, with the ever-present voice as well as when other instruments come to hand. Further, there is work for soloists as well as the regular players in an orchestra, band, or ensemble; I note the work of George Weigand and consorts he has played with, also the Baltimore Consort and others. Lutenists are not limited to careers playing continuo, there is other work; and artful improv (playing 'new musicke' as well as olde) was respected and considered for appointments. How can it help to scant a long-acknowledged historical performance practice? I am thinking of the several Mozart Concertos with empty staves needing cadenzas; also dixieland and jazz where improv is expected of soloists. Consider that that particular skill didnt hurt Mozarts reputation any. Improv is lots of fun and a reward in itself that one needs no job to enjoy; the technical work that leads to such facility as allows experimentation as one plays should also be a part of the workout for anyone, pro or amateur, aspiring to mastery of an instrument. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
