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Making Music and Defining Improvisation: Materials and Personal Work 169 try and concentrate not to repeat yourself. And then directly a different one! [laughs]. And then to figure out that âOK, that doesnât workâ, like, perfect, but you get ideas... just to get out of 2-5-1s in a way.29 How to come to a different concept. [...] [Other people] write down numbers, and practise that up and down... and yeah, I also did that... but I kind of try to make myself flexible to improvise those lines, letâs put it like this.30 And Els Vandeweyer, told me that whilst performing: Then you always feel like âOh this isnât nice... how I can go different ways from it?â, and then [in practice sessions] I really forced myself to go in five different directions with one pattern, or sound-wise... you have a beater on the left hand... two notes [or] three notes, that you say âOK, Iâll stick myself in that kind of thingâ, and then [with the] right hand, I make one decision: âOkay, I want only... 7s, like dominant...â, and then [work on that] to be able to be kind of free... and see where you come out with. Or... I want to use [a] one hand roll and then keeping this, or I want to play it in different ways...[to] do two voices, or one voicing in the middle, and then... three, four hours later again... you found it out... you just take a motif and you turn it around... in every way. Developing rhythmic flexibility was also important, drummer Christian Lillinger explaining that: What I practise... is to be able to think much more freely, with different ways of doing. For example, 6-over-7 things,31 so that I can create different layers - that you stay in a clear thing, but you can go everywhere, freely, in relation to this centre. [...] Itâs also a training, of course, but so everything is possible, and so you can stay in these energetic situations, so that it flows. Not so that it becomes concrete, but that itâs a living thing. And flexibility was physical and mental - Lillinger emphasising the need for physical suppleness in addition to âfree thinkingâ, and Andrea Neumann describing that her aim, in practise, was to become âfluid not only with your hands, but also in your imaginationâ. Many musicians looked to practices outside of music in order to realise these goals - Olaf Rupp and Nils Ostendorf practicing meditation and yoga, and Burkhard Beins going 29 Roder refers to the mastery of improvising over ii-V-I cadences that remains central to the mainstream jazz tradition. 30 Klaus KuÌrvers added, âI have choices to work with certain sounds, or with certain sets of pitches everything which is used in composition. [...] To work with a small selection of pitches, which... are fully permutated. All these techniques for creating variation which we know from classical composition forwards, backwards, higher and lower. [laughs] [...] There is one element that is being rotated, that youâre looking at from various sides.â 31 Playing a six beat phrase in the time of a seven beat phrase.