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Playing Together: Four Levels of Improvisation and Two Axes of Appreciation 189 on the super-fast âsub-consciousâ level that Voutchkova described as essential to ârealâ improvisation. Jan Roder estimated that while ârealâ improvising he gave at least 20% of his attention to structural concerns, describing how: I try to overview what is happening, but at the same time I try to let go as much as possible - to open up the space for intuitive reaction or... to be a little more ânowâ. Not to think about what am I going to do - âNow I see heâs doing that, and when heâs doing that then Iâm going to do thisâ, because then Iâm not playing now ! Thatâs the problem if I improvise that way. [...] The other 80% is... a lot of listening what the others are doing, and then basically letting go of what I myself am doing. JD Zazie explained that: I like the idea to have a corridor with many doors coming off it, and each time, in the structure, I just open one door. [...] I show whatâs going on there, but I donât just stay there - I go on and on with my interaction, and I open another door and so on. [...] Itâs really just about showing different possibilities, directions [and] perspectives, from little tiny details, to bigger and more complex structures.15 As a further tool for developing awareness, several improvisers referred to âThe Musicâ in the third person or as an entity existing its own right, and such musicians often pictured themselves as audience members, diverting their attentions almost entirely from their own activities. Clayton Thomas described one concert where, âI just did it watching from the outside, and the music absolutely took care of itselfâ, and Olaf Rupp added that: Itâs my music. Itâs like a living being, and it comes alive when you do this [laughs and mimes playing]. [...] I always would like to hear what the audience hears.... to listen to all the instruments at the same level and with the same attention. [...] I listen to my music like another player, like a third player. All in all, then, this discussion proposes yet another definition specific to Improvised Music-making - the idea of being âin the momentâ not implying being âlostâ in that moment (as Soules and others have suggested),16 but pointing to a state of awareness that encompassed both the present and its entire context (structural/formal elements, collective histories and experiences), and which could be experienced and assessed either 15 Tobias Delius also explained that, âI do hope to find open doors and open windows, and if I do find them, make sure that they stay open, rather than shut them down.â See also p. 164. 16 See p. 61. Only two musicians (and, perhaps interestingly, the only two with known hard drug experiences) mentioned becoming âlostâ as being a desirable outcome, and even in these cases, this was not felt to be desirable all the time.