This CD comprises in-class and tutorial recordings, mostly solos.

1. (Minute solo) 1:35
2. (Minute solo) 1:36
3. (Minute solo) 1:13
4. (Minute solo) 1:39
5. (Minute solo; prepared piano) 1:51
6. (prepared piano-chasing the ball) 2:27
7. (Minute solo; no thumbs) 1:55
8. (Minute solo) 1:30
9. (Minute solo-starter #1) 2:16
10. (starter #1; 2nd attempt) 1:50
11. (Minute solo-starter #3) 1:28
12. (Starter #3; 2nd attempt) 2:15
13. (Minute solo-starter #4) 1:30
14. (Minute solo-starter #5) 1:27
15. (solo; prepared piano) 3:39
16. error 0:06
17. (Minute solo; octave unison separate hands) 1:29
18. (solo; descending from top) 3:04
19. (Minute solo; ascending from bottom) 1:53
20. (Minute solo “cross hands”) 1:18
21. (Minute solo) 1:13
22. (Minute solo; prepared piano) 1:28
23. (Minute solo; one voice melody) 1:39
24. (Minute solo; two voices) 1:14
25. (solo; three voices) 2:09
26. (prestissimo) 1:44
27. (scratching; prepared piano) 2:12
28. (symmetry) 2:31
29. (long piece#1) 5:27
30. (Minute solo; chorale) 2:55
31. (long piece#2; prepared piano) 9:19
32. (long piece#3) 10:28

Log of improvisation

1. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 1
Duration: 1:35

B. Intentions: “Hovering” in B-flat Major.

C. Materials used: both hands play in octave, one-directional in step motion. Later a bass drone is introduced, repeating the first motive, soon after in octaves, which becomes the foundation as the right hand climbs up in step motion reaching for the final cadence.

D. Evaluation: Never too adventurous, repetition is always my predominant tool to use as a extension of improvisation. A very strong sense of tonal-based thinking and harmonic progression.

2. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 2
Duration: 1:35

B. Intentions: symmetrical exercise , “scavenge materials while playing.”

C. Materials used: using a simple triad in the right hand, the left hand imitates through playing the exact mirror image, for a short time, later the left hand change to serve the harmonic function accompanying, and becomes the “bass” for the music. Now only the rhythm is similar for a longer moment, while the whole piece gradually descends into a low cadence.

D. Evaluation: There are many instances of “low-mileage” playing, where it is a sign of my “breath” of attention. Also as soon as I choose what I like from what I have been subconsciously playing, there are ideas to follow and extend those decent surprises.

3. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 3
Duration: 1:13

B. Intentions: Imitation Exercise; scavenging.

C. Materials used: a very quick and vigorously repeating set of notes that pauses when play as a solid chord. When the whole set repeats it was couple in octaves. The bass then becomes the drone with the original motive play in the high register, with decrease speed until the eventual stop, the pedal press down during the whole “cadence-like” progression.

D. Evaluation: The imitation part of the intention is soon lost after the first motive was changed, but none the less the general flow of the music is acceptable. The treatment of the cadence is quite satisfying.

4. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 3
Duration: 1:39

B. Intentions: continuity exercise, coherence exercise.

C. Materials used: Right hand chord plays in a tremolo style, while left hand plays the melody. The motive shifts in stepwise motion, while the left hand later overlaps the right hand. As the texture thickens and the volume gradually increase the piece came to a stop (but the sound is held by the pedal), and restart with a new section where the right hand plays broken chords and left hand plays melody, and gradually comes into an unresolved stop.

D. Evaluation: The failure of this exercise comes form my physical impossibility that I simply cannot play tremolo forever. As I was too tired to play on, the music was interrupted but at least not fragmented. I am still not satisfied at how I cannot carry on what I have started. I am happy that I did not force myself to play a traditional cadence at end however, which is a good start.

5. Name: Minute piece on prepared piano
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 5
Duration: 1:51

B. Intentions: This is my first attempt to record music using this kind of instrument, so it is mainly a scavenging exercise, which means I would improvise “freely” whatever material I have encountered, both tonal or rhythmical.

C. Materials used: Definitely percussive, there is a vague “drumming pattern” in the beginning while the textures thickens up into a climax. Immediately two sounds play together as an duet, and after a brief fermata the piece ended in a gradual cacophony, pedal pressed down.

D. Evaluation: There is a strong image of Chinese opera during the duet part, image of “Hocket” style of connection of a single musical line with using different instruments. Also despite the fact that the sound is clearly distorted I am still improvising with a “tonal” mindset, choosing sounds and its effects functionally instead of a more percussive, rhythmically oriented style of playing.

6. Name: Minute piece on prepared piano (chasing the ball)
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 6
Duration: 2:27

B. Intentions: There was a dented ping-pong ball placed loosely within the piano, so I decided by using two fingers, one on each hand to play the notes dictated by where the ball is situated. I also wanted to increase the tempo and dynamics until its too fast to play where it would be the end of the piece.

C. Materials used: Random sounds at first, along with ambiance of the recoil of the dented ball. The music pauses abruptly at the middle section. Then the sounds resume and picks up the speed and volume until the piece ended with a low sustaining “bang”, pedal pressed down.

D. Evaluation: There are times where I did not accurately hit the ball. But nonetheless this is one of the most fun piece to play with, for the harder I press the keys the higher and unpredictable the balls would jump and land. I would then have to catch(predict) where the ball might fell so as soon as the ball was landed at that key it would be bounced again.

7. Name: Minute piece on prepared piano
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 7
Duration: 1:55

B. Intentions: No thumbs on both hands.

C. Materials used: Solo melodic line, then the left hands imitates but very soon falls back into the harmonic supporting role. The middle section sounds random but nonetheless connects with the previous section, where it gradually picks up momentum by playing a diatonic sequence with left hand drone in lower register. The piece ended following an obscure harmonic progression.

D. Evaluation: When it is physically limited I can no longer play descending consecutively for more than three notes. There are many pauses which indicates exactly what had happened. The index finger cannot replace everything that that thumbs are designated to function. Also my harmonic and tonal mindset are still dominating the direction and expansion of the music. Despite the pauses created due to the technical limitations the general flow of the piece are maintained.

8. Name: Minute piece on prepared piano
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 8
Duration: 1:30

B. Intentions: The verbal slating is unclear, but after reviewing from the recording seemingly I was trying to make a melody using a single note play alone or coupled in octaves.

C. Materials used: The note-melody was pressed down while random notes are played rapidly in between intervals where the “goal notes” would be solely play. The note-melody then ascended in step-wise motion, as the random notes follow and enveloping the note. The dynamic and speed steadily increase, then some free improvisation happened at the top range and a quick descends into the register where the music had started off. A repetition of some kind started of the next section and soon becomes another free playing with pedals pressed down, while the contour ascends into the final cadence.

D. Evaluation: The execution of the intention is somewhat successful, but many times the “random” notes played in betweens intervals of note-melody are overpowering to a point where it obscures definition of melody and accompaniment. The music overall has that forward momentum which keeps the music interesting.

9. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 9
Duration: 2:16

B. Intentions: Attempting to expand and develop the starter #1 written before.

C. Materials used: A homophonic piece of music. Starts off with a simple solo theme and further expand with left hand playing harmonic support. When the music repeats the second time it was played with a greater drive, and was slightly change into a melody with left-hand bass accompaniment. As the progression change, the right hand played coupled thirds/sixths into the gradual chorale-like conclusion.

D. Evaluation: The original starter would be too difficult to “start” with, so I decided to play the top melodic line only, and not strictly follow the tempo and meter suggested. The actual variation happened rather late in the piece and was quickly ended. I would expand that part more if I have to chance to play it again.

10. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 10
Duration: 1:50

B. Intentions: Second attempt to expand and develop the starter #1.

C. Materials used: A somewhat off metre dance (in four with syncopated third beat), with the starter’s harmonic progression expanded considerably. After a short bridge the “starter” progression was played repeatedly, where it was abridged and connected with the coda ending (in fact an extended second half of starter), composed of repeated, unresolved broken chords fading out.

D. Evaluation: Again the starter material has failed to continue and develop further. There is many variation within the starter, but nothing completely new based on the material came out. Even so I am quite pleased that I have tried playing in a dance style in which I have rarely attempted ever.

11. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 11
Duration: 1:28

?B. Intentions: Attempting to expand and develop the starter #3 written before.

?C. Materials used: A quick and forceful start in octaves. The starting motive is broken up, and repeatedly played with an awkward cadence, in which it was also played repeatedly. The music then returned to the beginning with harmonic accompaniment by the left hand. As it was collecting forward motion it was turned into an unorthodox cadence, with pedal pressed down. The material is perform for the third time and ended in a similar style as played before.

?D. Evaluation: Somehow I just cannot play the cadence at the end of the starter correct. Consequently, I choose to “doodle around” until I am ready, yet another (and same) mistake happened and I almost wanted to stop the piece and restart. Thank God at last it was played correctly at the end.

12. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 12
Duration: 2:15

B. Intentions: Second attempt to expand and develop the starter #3.

C. Materials used: A detached start soon turns into a gaily dance, picking up tempo and momentum. With the gradual descend in stepwise motion for an octave which the starting material is played with left-hand accompaniment. The dance-like variation was soon becoming a thud of chords, seemingly in preparation for a typical cadence in which did not occur, but only the sound of what precedes it, pedal down. The theme is then repeatedly played, in solo or octaves, gradually slowing down and end with a slow but grand arpeggio.

D. Evaluation: Generally I am quite pleased with the product, for there are many good things happened, such as some new material developed from the original starter, the unexpected false ending in the middle section, and the mystical, exotic end. Furthermore all of these fragments are well connected in a cohered manner, only at some times the style of playing seem like it does not match, such as the dance immediately after the starting motive.

13. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 13
Duration: 1:30

B. Intentions: Attempting to expand and develop the starter #4 written before.

C. Materials used: The melody was carefully pedaled, with left hand rhythmically accompanied, while quickly picks up speed as the melody continues. A new motive composed of melody played in duple meter moving around in stepwise motion, later played in combination with the starter material. As the material repeats with melodic variation, it enters into an echo-like movement. The piece unexpectedly ended shortly after.

D. Evaluation: Somehow the register might be too low for the piece, but colour is rather desirable. May be the pedaling should be lighter and thus not overcasts the rhythmic vitality of the piece. The new material can be improved, but it is still acceptable nevertheless. In comparison with what I have recorded the balance of melody and accompaniment of this piece has improved, where I can hear both parts clearly most of the time.

14. Name: Minute piece
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 14
Duration: 1:30

B. Intentions: Attempting to expand and develop the starter #5 written before.

C. Materials used: Loud, “chunking” chords with considerable amount of silence spaced in between. The motive is repeated with variation, at first doubling, then augmentation, and changing registers and range, gradually increasing in volume while the touch gets rough but remains controlled. When it reaches the stage of meltdown the final cadence was played offensively with pedal pressed down for a moment.

D. Evaluation: A simple idea of working towards the eventual “meltdown”, a momentum pianism. There are parts in the middle section where it failed to drive through, but I have saved myself from getting stuck-only by jumping on the same spot repeatedly! There are definitely opportunities for further development, but this “minimalist” approach is acceptable.

15. Name: Minute piece on prepared piano.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 15
Duration: 3:39

B. Intentions: Repetition Exercise; scavenging.

C. Materials used: Series of repeated fragments in the beginning. A short pause before return to the beginning material with thicker texture, with retaining same level of dynamics. There is a sense of chaotic movement that eventually became a pattern repeating in series of four. The format is then continually played for the duration of the rest of the piece, which ended without any cadence points.

D. Evaluation: Now the sense of melody is lost because I cannot hear distinctive pitches. It took a consider amount of time before reaching the desired pattern, shown in many times in the form of chaotic and random cacophony.

16. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 17
Duration: 1:29

B. Intentions: scavenging.

C. Materials used: detached random notes that eventually turned into an melody played in octaves. Slowly descending and increase gradually in both tempo and dynamics into a slight pause. The same melodic motive is then repeated again and ended shortly after.

D. Evaluation: There is a sense of “flatness” in this piece of music. There are many variations in sound, but the general phrasing is virtually non-existent. Nonetheless I am glad that I could quickly “scavenge” a melody from playing randomly, probably due to limiting my attention from other issues which would become more like distractions than enhancement.

17. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 18
Duration: 3:04

B. Intentions: Harmonic progression, descend from top register.

C. Materials used: A soft beginning of simple chords that evolved into a polyphonic chord progression, slowly descending, with bifurcated hand movements. The left hand eventually split up with the right hand, despite still exchanging motives. Moving now quickly than the right hand, the left hand tumbles down to the lowest note, which formed the cadence with the right hand at the very end.

D. Evaluation: The idea of descending from the highest point can be easily carry out, yet it is hard to maintain the level of interest for the listeners. Also the left hand’s texture turns unclear as it was descending to the lower part of the register. Overall the flow of the music is maintained, which is an improvement in comparison to previous improvisational attempts.

18. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 19
Duration: 1:53

B. Intentions: Ascend from the bottom.

C. Materials used: A chorale like beginning which turns into a rhythmic pattern ascending from the bottom register, moving in semitones. The complex right hand pattern dissolves into simpler note-against-note and eventually playing simple chords with the left hand and ended shortly after.

D. Evaluation: This is the “mirror” exercise originated from last piece, but now inverted. Similar to the last piece, despite the presence of a definite rhythmic pattern yet there are no control over the rate of which the ascending/descending semitones are being played. Also as soon as the listener recognize the pattern the interest of the piece are lost.

19. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 20
Duration: 1:18

B. Intentions: A cross-hand movement, while the left hand ascends from the bottom the right hand descends from the top register.

C. Materials used: This movement-oriented playing started from a rhythmic pattern from the both ends of the piano. Dynamics and tempo were increasing as the two “forces” approaches and meet together for a brief moment. The two soundings soon separated and the piece end as both reached their final destination.

?D. Evaluation: A simple idea, but not so simple to execute, for the balance of two voices and the technical problem arise as both voices come across makes this pieces difficult to play.

20. Name: Minute piece on prepared piano.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 21
Duration: 1:13

B. Intentions: melodic exercise.

?C. Materials used: a melody coupled in simple or compounded thirds, repeating after unorthodox cadence points. The texture thickens as the melody progress into a coda-like harmonic change, which returns quickly back to the starting motive with the finish where the left hand playing bass drone.

D. Evaluation: This piece lacks the direction and forward momentum. The pedaling is rather artificial and lacks the sensitivity that would have been improve the repetitive nature of the music. In general this piece failed to continued what had started.

21. Name: Minute piece on prepared piano.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 22
Duration: 1:28

B. Intentions: rhythmic exercise.

C. Materials used: percussive grooves, which are repeated in even sections, using different notes. Variations of the motive in the middle section which return back to the original model.

D. Evaluation: Experimenting with a minimalist approach, the form and the pattern is simple enough so I could be focused on choosing different sound effects. The pattern was lost in the middle section but it was successfully recovered.

22. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 23
Duration: 1:39

B. Intentions: monophony exercise.

C. Materials used: The short melody is soon repeated with irregular steps. Some subtle dynamic and touch changes occur as the melody extends, where eventually it bifurcates itself under the harmonic influence of the absent contrapuntal line. Suddenly the smooth texture was interrupted as the change of register, where the piece ended abruptly after two notes was played simultaneously.

D. Evaluation: When there is only one note allowed to be played the impulse of forward drive would change from the vertically, harmony-based to the lateral, melodic sense of momentum.

23. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 24
Duration: 1:14

B. Intentions: Only play two notes at a time.

C. Materials used: The polyphony at first splits in opposite direction, but soon returning towards the middle register and quickly turns into contrapuntal playing at equal time intervals. The brief retard and pulse of notes playing octaves in the middle section was followed by the bifurcated right hand where it turns into doodling conclusion in a similar fashion as the end of the first half.

D. Evaluation: Again, I was eliminating form, dynamics and change of meter for the sake of articulate the melodic component of music more clearly. However, I believe in many instances this pieces has turned into sequences of doodling which I believe serve very little musical significance.

24. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 25
Duration: 2:09

B. Intentions: Texture exercise. Scavenging.

C. Materials used: A bitonal like texture from the start where the right hand eventually takes the melodic role, only for a short time where it quickly and violently descends into the lower register. Immediately a new motive was introduced, consists of rhythmically driven, diatonic sequences moving in stepwise motion, later modulating into a different key. The motive then dilates and breaking down into a cadence ending.

?D. Evaluation: There is a very strong sense of drive, despite its vague tonality. I am satisfied with the changing of sounds in terms of playing in different registers, which gives a strategic sense of balance. However the ending is being poorly executed, after series of exciting and vigorous playing.

25. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 26
Duration: 1:44

B. Intentions: barely touching the notes, yet in a great speed; then slowly adding the weight of the fingers to the keys a thus making them sound.

C. Materials used: A solo start, playing random notes. Then more and more parts are being added in, with ever-increasing dynamics. A vague yet steady sense of rhythmic pattern was shown in the middle section. Eventually the piece has turned into a deafening roar of sound, while the accelerating tempo has pushed the music into a rapid, cacophonic end.

D. Evaluation: I am fascinated at the rhythmic groove played in the middle section. Despite the fact that I intentionally play randomly yet somehow the order has strangely emerges.

26. Name: Minute piece on prepared piano.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 27
Duration: 2:12

B. Intentions: Instead of playing the keys, make sounds from scratching and hitting the strings

C. Materials used: Starting with a 4+1 pattern, and then later fill in all spaces but maintain a steady, uniformed pulse. Texture is then further thickens with range substitution and increase dynamics. When this section ends with a cadence beat, it was replaced with a more loosely controlled groove, which was varied and ended with a similar style.

D. Evaluation: This experiment is trying to increase my efficiency of attention, by means of while focusing on the sound and texture, yet the sense of form and texture would be included. The rigidity was lost in the latter section but nonetheless the momentum was preserved.

27. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 28
Duration: 2:31

B. Intentions: Imitation/symmetry exercise.

C. Materials used: The starting motive consists of right hand playing in leaping motion while left hand imitates by symmetrical, contrary movements. The system is also immediately repeated with removing the last note. Then the whole system expended by tonal augmentation. pedals where added while the tempo accelerates, thickens the overall texture. The end consisted of parallel movements delivering the conventionally resolved conclusion.

D. Evaluation: The execution of the intention would become unnecessarily difficult when notes are not group together as one phrase. The development of the system lacks the ideal precision; yet if the music slows down any further the dilation would make big phrases very hard to detect.

28. Name: Long piece #1.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 29
Duration: 5:27

B. Intentions: First attempt to play longer than five minutes. Continuity and flow.

C. Materials used: The theme is play with an antiphonal style, quickly moving embellishments with moving bass line, which drives the general harmony progression. Trying to maintain within the same pentatonic key/mode. The right hand bifurcates into the exposition of the main motive. The general form of this piece is ABA with the middle section play in a contrasting tonal colour, but maintaining similar style. The recapitulation includes a variation of tonal substitution by the left hand. The bass line replays the starting motive to set up the grandiose finish.

D. Evaluation: In general the continuity and flow are maintained. There are “wrong” notes but did not drastically affect the music negatively. The balance of volume, strategic placement and form are quite convincingly presented. Some of the touch of the higher notes are beautifully and clearly played (@?3:40).

29. Name: Minute piece.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 30
Duration: 2:55

B. Intentions: Chordal playing with steady harmonic progression.

C. Materials used: The starting homophonic motive extends into a moving bass line, eventually develop into extended tonality. The format turns into lyrical lines being accompanied by left hand. The uniformed rhythms gradually slow down in accordance with the descending movement, into chordal progression once again. Lastly, the dominant bass-drone in the left hand sets up for the final cadence.

D. Evaluation: The through composition style is noticeably shown in this work. Clearly episodic, but securely connected and consequently creates a dramatic feeling. However, I am displeased for my rugged treatment of the conclusion and its seemingly awkward preparation.

30. Name: Long piece #2 on prepared piano.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 31
Duration: 9:19

B. Intentions: Development of used materials in past improvisations on prepared piano.

C. Materials used: In general there are two main areas of variation: rhythms played under even metrical pulse, or addition by means of repetition and augmentation. Also underneath the general texture the beat itself would be sometime dictated by the tones remaining on the prepared piano.

D. Evaluation: On a basic level continuity is preserved, while the forward momentum contributes towards the flow of the work. Despite often relies on the remaining tones found in the prepared piano, nonetheless new materials were improvised on the spot and I have successfully expand them. Also on the surface level I have also kept in mind of the form, reminding myself of recapitulations and thus contribute a sense of organization towards this piece.

31. Name: Long piece #3.
Date & Time: Feb 18th, 2003
Context: 002A recording. Alone.
Performer (s): Richard Si
Track number: 32
Duration: 10:28

B. Intentions: Development of used materials in past improvisations on piano. Function as a melting pot of what happened previously, this piece uses material from past improvisations and attempts to connect them with tonal-based progression. Serve as the result of all of the past experiences which leads into a proper conclusion.

?C. Materials used: In general, all tools used previously are employed within this piece, such as imitation and symmetry at the beginning, harmonic progression in the bridge, fast embellishments decorating the melody, bifurcation of one hand, and polyphonic treatment of motives. Pedals are used cautiously as a tool broadening the overall effect. There are also instances of rhythmic variation such as repetition and addition.

D. Evaluation: There is unfortunately many number of places where different episodes are strongly disjointed, thus weaken the overall structural integrity of the piece. Even so, I find a great sense of ease when improvising this piece, as there are many tools under my belt so in comparison to all other improvisations I am most prepared and are ready for most, if not all situations. Furthermore, as I am relaxed intentions are easier to execute.

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