It is not free improvisation; it is structured improvisation as I use leitmotifs that the audience has given me previously. In my perception-reception model (Neeman, 2014), two “focus” appear that are unified with the skill model. The first focus is the audience's decision, so that they are part of the performance and have made conscious decisions that will decide the course of my improvisation. The second focus is my inspiration from the first focus.

The improvisation rehearsals were divided into warm-up; creation of an exercise, twice; and the development of the exercise, twice.

 Exercises for Structured Improvisation

• ·       1-2-3-4 note exercise: brief improvisation with just one note, then just two notes, and so on.

• ·       Eye connection exercise: eye contact takes priority over the music. You can't take your eyes off your partner at any time, no matter the technique in the improvisation.

• ·       Question-answer exercise: musician A performs an improvisation in the form of a question and musician B answers.

• ·       Imitation exercise: musician B tries to imitate the motif of musician A. This exercise can vary progressively by changing part of the imitation of the other musician.

• ·       Leitmotif exercises: practice different leitmotifs suggested or chosen from the Online Survey (see Research Procedure).

• ·       Emotions exercise: experiment with creating an emotion previously decided by the musicians.

• ·       Looping exercise: creating looping layers with Ableton, using drums, electronic instruments and piano.

• ·       Tempo exercise: consciously keeping the same tempo throughout the short improvisation. The drummer will decide when he wants to change the rhythm.

• ·       Gesture exercises: Being aware of our body and gesture language in the way we want to communicate with each other. Become familiar with your partner's gestures.

• ·       Embracing failure exercise: We try to get out of our comfort zone to provoke a failure. This failure will be "theatricalized" and repeated several times until a new compositional idea emerges.

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• Most of these exercises can be combined to create a progressive difficulty.