In modern improvisation we find the alterations of key signatures, time signatures, and harmonic displacement. I will address more on these in Part IV. But for now, I would like to talk about the philosophical implications of these changes. When an improviser takes it upon himself to change, not just the notes but the feel of a composition, he implies that a great knowledge base is in place of that composition. Compositional knowledge is paramount before one can attempt to manipulate in any capacity. This vast understanding of a piece of music may take months, years, or decades. In some circles, it is believed that not one person can know all there is about one particular song. The only exception would be that the composer himself is the only one that knows his composition the very best. First, one must take the initiative with an explorative mind. You must set out to analyse and mentally notate everything that you come in contact with, while working on the piece. When you are doing this, keep in mind that even though you are participating in the producing of the sounds that make up the piece, that you are only that for which makes that sounds. Sound manipulation is at the very essence of what you are participating in when improvising. You are changing the vibrational qualities from what was originally placed by the original composer.
The message that you will transmit to your listener from this change in vibration will be dictated by how dense and dimensionally loaded your tone quality is. This, stimulates the implications of validity of practice and tone cultivation. One must spend time to closely analyse your tone quality. The musician should consider using a form of meditation in order to quiet their minds and inner vibrations. Experiment: Notice the next time that your inner mind is racing, and your biological vibrational energy is fluctuating how this effects your musical expression. All musicians and artists perform better[in quality]when they are quiet inside and focused.