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"On the other hand, I have one piece which I call Beginner's Mind,
which is nothing but a title.  and a commitment to focus on creating a
composition without preconception.  It works for me, but I still have,
as Per indicates, a host of customs, traditions, ways of dealing. 
However, it's equally as disturbing to my own personal flow to try to
fight those tendencies too much..."

One of the benefits for me, playing that way, is how my playing habits
become obvious.  They pop out.  The audient probably isn't getting any
benefit from that, though the learning will eventually benefit that
person.  If they give me another chance.

Totally free improv tends to get very repetitive.  (paradox?) Most
improvers place restrictions on themselves of various sorts.  Key sigs,
chord changes, dice rolls, astrology...  I haven't personally found a
set of restrictions that produces (with my help) music thats
interesting to the outside world as opposed to a few art-damaged
musicians (no offense, I count myself among these).

"So I search for a middle way, trying to allow rather than manipulate."

I'm still searching too...for a middle way between total self-absorbed
free improv, and carefully planned "communication" with the audient. 
Jazz and classical Indian had that balance, but that balance was
carefully worked out, in unspoken negociation, over a period of time. 
That process of negociation hasn't really happened with looping music
yet, as far as I can tell.  There's no set of assumptions for the
looper to work with or against.  

Bored stiff? Loosen up... 
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