Da KAT bazically cuntzidah any sheeyat dat wuznt written down
To be IMPROV 
Da moz CG sheeyat about all da KAT improv vidz iz hiz uze ov da word ZPONTANIOUZ 
I think dere iz a lot of WIKID GENSUI dere but diz iz bazically da KAT mezzin around on themez extenzively in da prax room, workin up a quazi-parasheeyat on dem, n den unleazhin dem all in random zequence in concert
I think Gabrielle Montero does āproperā impro, from themes provided by the audience. This is a random one as Iām not at my desktop to find any specific ones.
Alzo 10/10 wud hit it
I think Katsarisā improvisations are pretty crappy tbh, Iām with festin above in that it just feels like heās going through his bag of tricks. In terms of gensui Harrisonās Montero improvisation above is >>>>>>>>>>>>>>>> Kat IMO.
Of course with printed music otoh Kat >>>>>>>>>>>>>>>>>>> Montero
Tbh I think this is a common failing; Iām certainly prone to it. Even the holy one 
does this at times imo. But thereās a lot more electricity in his improv than with da kat.
Randomly, I never find improvs to be musically satisfactory. Maybe if it were Beethoven or Liszt improvising, but def not from Katsaris.
Agreed
ahahahah da officially zanctioned SDC term fo diz iz:
IMPROPARAZHEEYAT 
Korrect!
@festinfurious Do you take any kind of deliberate approach to the practice of āclassicalā improv?
There is frustratingly little info out there on how to go about developing it.
This is definitely an Improparazheeyat, and I know not everyone likes this kind of thing but I love it.
I think Lisztās Operatic paraphrases were created in a similar way - taking a melody - and then experimenting with different ways of decorating it at the piano. Using as mentioned above - a different ābag of tricksā for each repetition of the melody.
Generally I find thereās two different forms of impro, free impro and parasheeyat impro on a theme.
I probably prefer the first, because there are absolutely no constraints other that I sometimes try to impose rudimentary structure in the sense that if a decent motif emerges early on I might bring it back towards the end.
With the parasheeyat form, different bag of tricks for each variation pretty much covers it. Iām sure this is how Liszt wrote a lot of stuff, and itās how Iāve written parasheeyats: lots of impro, get variations in your head, play cut and paste with them for best dramatic impact, write brief cadenzas for linking passages if needed. Of course when da kat presents a āspontaneous improā you have to trust he hasnāt worked it out beforehand, and he probably has, but never written it out, and a few small details are left to chanceā¦
https://youtu.be/Ig1UV3CHlb0 improparasheeyat construction in action! (sorry about the phone audio!)
The first variation and the alt chords variation fall into that KATegory here of having been thought about before. The rest is spontaneous iirc. I donāt think itās a particularly inspired impro, but a couple of nice ziff-tributes!
For me, impro is an expression of your pianistic / technical vocabulary and knowledge of expressive figurations and devices. It is legit very difficult for me to explain it; Iāve done it ever since I first played da 88, and itās as natural to me as walking. I consider it by far the best aspect of my piano playing.
Yeah this is how I thought it was.
Iām the same way - if I have a gift for anything itās in this realm and thatās why instead of aspiring to amass some repertoire at my relatively advanced age; Iāve decided to stick to a modest repertoire goal whilst primarily cultivating improv.
Where we may differ is that I donāt really like listening to free improv much, I much prefer parazheeyat on a previously established QUALITY theme instead of wandering around and leaving it to chance.
There isnāt a single shit KAT improv rec in existenceā¦and thatās because he always bases it upon themes that are guaranteed to be memorable.
If he were left to do a free improv it would likely be a bit 
Free improv is far riskier. A lot of the time, people degenerate into noodling and itās really uninteresting.
The way Jazz is structured generally lends itself to being more conducive to successful improvisational freedom.
Classical improv is a bit of an oxymoron because the gensui of classical comes from it being meticulously laboured over architecturally rather than off the cuff 
Randomly found diz clazzic improv medley from 12 yrz ago 
See how many themes you can recognize from it
I donāt think this is really true. The problem is that so many classical musicians are sheeyat at improv, probably because nowadays itās very unusual for performers to also be composers.
I donāt see why a penizt shouldnāt be able to create something coherent off the cuff (though of course I realise that maybe 90% canāt).
HAHAHAH REZPEC da fledadong improparazheeeyat tezt!! diz already haff clear cut ztrukchaz n penizdick definition. da FEZTIN a freeztylin MOFO wiz dizcipline 
AHAHAHAHAH DIZ AUTEHNDICK COMME FURY!! 
REZPEC da OLDBOY central moizt, n da lowkey ONE MO TYM finizh
Haha tru da FEZTIN inzpirin da comme to pozz try diz theme, zum gensui fo zhor. Da minah key part a bit wikid
Randomly da Fledermaus cummah from da german fo 
becuz da Germanz 
think da BAT lookz lyk a flyin mouze 
