Improvisation occupies a prominent place in all artistic languages. In music is a topic of interest in virtually all areas, whether in performance, music education, music therapy or in musicology, allowing dialogue and interlace with aspects of perception, analysis, composition, technological resources. This research deals with improvisation in music, specifically in music education, with a sharp focus on instrumental learning, using the clarinet as an object of study. The main objective of this work is to understand how a group of children from a university extension project construct their own learning clarinet in using improvisation as a starting point for the technical development and other musical skills. The theoretical framework that grounded understanding of the processes experienced during the research proposed in this master thesis that improvisation was buoyed on three theoretical perspectives: (a) feature of musical performance, (b) creative process, and (c) the learning process. It was assumed that learning of technical content occurs parallel to learning creative practices through improvised performances inserted in the daily lessons. Thus, it was examined how improvisation activities may or may not contribute to stimulate the acquisition of technique. However, this research adopted as technical procedure using the case study as instruments to collect the logbook, recorded individual interviews, texts written by the participants and focus group data sessions. The technique chosen for interpretation and data analysis was content analysis, through which were delineated three categories of analysis: (1) Solo: what the child understands how solo, (2) Perception: how the child feels the perform solos and (3) understanding: as the child considers improvisation in their learning the clarinet. We conclude that the supports for improvisation show are accessible to any level of learning and in varying contexts, whether in individual classes or group activities. The results show a great potential for children to demonstrate knowledge of the tonal system, such as tonality, harmony, scales and tuning. The role of improvisation also proves crucial in learning the clarinet because from the moment the child assimilates and assigns meanings to technical and musical instrument skills also develops awareness of his own musical discourse. Finally, the results were satisfactory in relation to established goals on the role of improvisation in learning the clarinet, because when children use improvisation to create their own musical discourse, which presents both elements as idiomatic free improvisation, meaning they attribute to acquired content, being able to rearrange them and reapply them.