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Can I, by reaching for the utmost limits on my instrument, in dynamically, technically and pitch related ways both find, for me, new contemporary techniques and expand the ways on how to play and perform them on the double bass? Can I, by illuminating, documenting, studying, organizing and re-documenting my musical process, design a toolkit for improvising bassists with contemporary techniques? Can I, in my musical process both act as the first person, i.e. the subjective musician and as the third person, i.e. the objective observer? If so, can I, as the observer objectively observe and organize the ”discoveries” that I am doing in my daily work as first person. Can I create this tool kit through the limitations that my instrument offers acoustically (the hand, the bow and the bass). And can I through this immerse and widen my musical expressions? - A richer language - more elastic - with more colors.
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Form
I often write short reflections in my diary about anything that has struck my mind. Often in short breaks during practice. Here is one about form.
Many layers in many dimensions, ideas that goes individually or parallel with each other, linearly, circularly or as spirals. Dynamical and rhythmical foresight. The short form - the phrase, the long form - the conversation.
