STAGE FRIGHT

It can be concluded that the use of free improvisation can help to reduce stage anxiety. The data collected from surveys and personal experience during sessions with Anne suggest that it can increase self-confidence and self-esteem, leading to greater safety on stage. 

This sense of empowerment can also help to reduce stress levels and promote personal well-being.

Additionally, it can free the mind from mistakes and allow for a more enjoyable process. By reducing self-judgment, a safer environment can be created, ultimately decreasing performance anxiety.

TECHNICAL PROFICIENCY 

Smilde (2009, p.62) argues that technical skills are crucial for achieving musical excellence. Therefore, musicians must seek new approaches to improve their technical proficiency. In the free improvisation lessons with Anne La Berge, the focus is on practicing and improving specific passages or technical difficulties in orchestral works or excerpts. 

This work allowed me to acquire new approaches for handling technical challenges. I would like to highlight the approach to problem-solving, which emphasizes creativity and utilizes play and imagination to tackle issues from a relaxed and active state of mind. This method differs from my typical study sessions, which often leave me feeling stressed and anxious.

We also develop the ear in a number of ways. On one hand, free improvisation provides the perfect space to explore the timbral possibilities of our instruments, from colors to textures and effects using extended techniques.

Additionally, it is a useful tool for working on tuning and harmony. Without sheet music, there is more space for auditory awareness. Improvisation also requires internal listening to what is being imagined and what has already been played (Lorenzo de Reizábal, 2022, p.75). 

In addition, both in the descriptions of the classes with Anne, and in the answers of the subjects in the survey, we can find a multitude of exercises to improve instrumental technique. Specifically, in the classes with Anne we discussed different exercises to improve tuning, flexibility, phrasing, search for sound quality, work on fast passages, relaxation of body and mind and expressiveness.

OUTINGS

This section collects the reflections based on the data collected in the work, as well as the observations and assessments after the analysis of the field notebook. Taking into account the autoethnographic approach, the data is commented on from one's own personal experience.

CONNECTION AND BODY AWARENESS

During my sessions with Anne, I noticed a better body awareness.

When improvising with Anne, whether it is from a classical repertoire or not, the most important aspect is creative freedom and active listening. This allows for the body and mind to relax, resulting in a better sound and improved technique, with relaxed fingers and hands.

It is worth highlighting two specific moments where I not only highlight the effects of the relaxation of my body thanks to the practice of free improvisation, but parts of my body in particular. On the one hand, in the first session with Anne, I emphasized:

“free improvisation has made me more aware of the positioning of my mouth muscles when playing It has allowed me to experiment with new positions of the tongue and jaw, creating different resonances, to discover new colors that are much more extreme than those permitted in classical music, as well as a bigger dynamic range.”

On the other hand, it is worth highlighting another moment:

“I was in a flute lesson just before this class and couldn’t find my sound at all no matter what I changed. Now it sounds big and effortless". To this, Anne replied “Your body was held in”.

The importance of body awareness extends beyond technical improvement and can also aid in injury prevention. Through free improvisation, musicians can connect their mind and body and achieve a state of relaxation. 

However, the pursuit of perfection often takes priority over mental and physical health. As previously discussed, this topic is not frequently addressed.

The results of the interviews indicate that the use of free improvisation encourages greater inner dialogue and communication with oneself, others, and the environment. 

Connection and body awareness are factors that are also mentioned in the results of the interviews. Subjects identify free improvisation as a tool that facilitates their connection with their instrument, artistic voice, musical ideas, and other musicians.

CREATIVITY

Creativity is linked to spontaneity. This is present in free improvisation, where musicians explore their instruments in search of new sounds and react spontaneously to their own improvisations as well as those of others, especially when performing in a group.

"Improvisers, each with their own cultural, musical and life background, go in search of new soundscapes, exploring the expressive possibilities of their instruments – they dig into technique, extend it, squeeze out the timbral possibilities – and even modify or invent them. (Alonso, 2007, p.1) 

Creativity is a characteristic that the subjects also highlight in the survey responses. This tool offers them that space of freedom to explore the sound possibilities of their instrument and give free rein to their imagination and curiosity, without being afraid, or having less fear of experimentation and possible "failures", since "We are not looking for the perfection of the finished, but the restlessness and energy of the search" (Alonso,  2007, p.9).

In addition, I would like to emphasize the importance of a characteristic that is repeated throughout my sessions with Anne and throughout the survey responses: the importance of enjoyment, fun and play as a tool for skill development. Creativity is directly related to enjoyment and play, allowing us to reconnect with the essence of music and with our instrument.