(con't from Part VI)
Even if it's a "bare bones" effort of ours that we think doesn't amount to a trifle, it's still an improvisation.
When we let our imagination run free at the keys we cannot make a mistake .. every note of it belongs to us.
It's ours to shape into anything we choose.
It doesn't have to sound written; it doesn't have to sound recital-worthy; it doesn't have to be in more than 2 voices; it doesn't have to obey every rule of voice leading; it doesn't have to be devoid of chromatic wanderings; and it doesn't have to be very long.
We can start anywhere, in any key or mode; we can take the music forward or backward, up or down, right side up or upside down, straight or curved, into or out of any region of musical space we want.
It's still an improvisation.
It still opens up a new dimension to the performer of repertoire -- a dimension of endless discovery, flexibility, uncritical self-correction, creative joy, and beauty.
It still brings a level of confidence and serenity of mind by knowing that any unforseen situation requiring incidental music to fit a time requirement presents only a small challenge.
It's still part of an organist's education ... the whole purpose of which is to make things easier.
All kinds of things can be "unearthed" when we start out very simple and just give it a go.