The structures for improvisation

Again I have not been posting anything for a long time due to my spending most of my time with my son. I have however played a few concerts, amongst them with the trio lim. Some of the work I have been doing within my research has effected the new tunes I have brought to that group and influenced how we work. It is interesting that, in the group, we all feel that the music has reached a new depth and that we can handle more complex music more easily than what we could a few years ago. This obviously has to do with the fact that we have become better at what we do, but I am convinced that, because the material we use is more thoroughly worked out, based on a firmer foundation, it is also easier to grasp and internalize.

Unfortunately there is no way to prove this but I should think about the possibility to include the process that lim has gone through in my research as a case study. I can at least document how we work and what the difference between the music we played on our first record and this new music is. There is no work that I am familiar with (I haven’t really looked either - if someone is familiar with related work, please let me know about it) that does this on the basis of how the written music or otherwise the point of departure for an improvisation influences the result. Specifically how the underlying structures in the composed material relates to the sounding result.