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Making Music and Defining Improvisation: Materials and Personal Work 179 And Nils Ostendorf routinely took anything up to 10 days away from playing,48 describing how he generally preferred to do an hour of yoga or spend the time exchanging with colleagues. Showing again, that practise was focussed specifically towards what improvising musicians wanted to do, Ostendorf feared that too much conventional practise made it more difficult to work in the way he wanted to (with noise, air, multiphonics and extended techniques), and he explained how: If I practise actually a lot... itâs much harder.... because itâs really about playing inbetween the notes, also inbetween the harmonic series. [...] If you practise a lot... every [pitched] note really locks in.... so itâs harder for me to really play between the notes. I also got sloppy on this whole attack and very clear trumpet [sound], like all these articulation things, because I never now want to practise any more these stupid Arban things.49 [...] The music I play I donât need it so much I donât play any 8th note lines, any 16th note lines. And for Ostendorf, as for many older musicians, periods of long intense personal practise lay firmly in the past, the purpose of this private work having changed significantly over time, and Tristan Honsinger suggesting that: I think thereâs a lot of people that... to develop, they go through a time of exploding... of playing as much as possible. [...] I canât imagine it any more, though Iâd done it for maybe 10 years before I became really tired of it. [...] I donât practise that much any more. I only practise when Iâm in the process of writing... until I find something I can start writing, which is a total[ly] different process. [...] I used to practice to find, to extend my thing, whereas now itâs the opposite... now itâs more to define it, to take away things rather than to add on to. Controlled-Discontrol and Materials Developed During Performance This chapter has presented a picture of musicians who were generally extremely clear in their intentions whilst improvising, drawing on a repertoire of âknownâ, pre-prepared, yet still-flexible materials in order to create new and unpredictable collective musical outcomes during the course of performance. However, just as Tobias Delius said, for âeverything you say, you can think of an example of the opposite which is just as nice, or as trueâ,50 and as Beins and Tricoliâs reluctance 48 Also owing to a busy family life and working full-time as a composer for theatre - â10 years ago I could practice for 4 hours a dayâ, but now âI get pretty bored practising trumpet - [after] more than 45 minutes I just donât know what to practice any more!â 49 Ostendorf refers to the Arban âCornet Methodâ, a book of exercises and eÌtudes used extensively by classical trumpeters. 50 See p. 164.