In this project, a band’s possibilities to deepen its improvisational capabilities as a group has been studied. The goal has been to make it possible for a quartet to improvise arrangements of original compositions in terms of varying forms, dynamics, tempi and roles in the music. To achieve this, several interplay exercises have been created to practice these parameters. After the concert related to the project, an analysis has been conducted on which of these exercises that seem to have influenced the band the most, but also which characteristics that made some exercises seem influential and some redundant.   After acknowledging the difficulties of knowing what is a result of the exercises, and what is merely a display of the quartet’s natural interplay, a conclusion has been reached. The interplay exercises that seem to deepen a group’s capabilities for improvising arrangements are the ones that can be done very concrete, but also be varied and feed new ideas. This was audible in a concert situation, where exercises in looping, free improvisation and varying musical roles became prominent. On the contrary, exercises that are too narrow, making them difficult to evolve, do not seem to have the same effect on a group’s interplay. Examples of these are playing fast rubato, or changing instrumentation quickly. / <p><strong>Repertoar:</strong>"Ask Me Now" - Thelonious Monk</p><p>"Anti" - Olle Lannér Risenfors</p><p>"Allt Hör Ihop" - Olle Lannér Risenfors</p><p>"Preparations Are Important?" - Olle Lannér Risenfors</p><p>"Never Ending" - Olle Lannér Risenfors</p><p>(Extranummer) "Now's The Time" - Charlie Parker</p><p><strong>Medverkande:</strong></p><p>Marius Zeeberg - tenorsaxofon</p><p>David Stener - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Nils Agnas - trumset</p><p>Bifogat finns inspelning från examenskonserten.</p>

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Der Beitrag würdigt die Improvisation als eine die interpretatorischen und analytischen Verfahren ergänzende Perspektive des Werk- und Stilverstehens. Um die Erschrockenheit zu überbrücken, welche gemeinhin entsteht, wenn dem am Literaturspiel geschulten Instrumentalisten der sichere Boden des Notentextes entzogen wird, wird eine methodisch durchformte Improvisationsanleitung gegeben, die es ermöglicht, den neu gewonnenen Freiraum durch Begrenzung zu bewältigen, bevor es zum Überschreiten des zunächst gesetzten Rahmens kommt. Das Konzept gilt der tonalen Improvisation und orientiert sich an kompositorischen Modellen der Nach-Beethoven-Ära bis etwa 1850. Gleichwohl wird ein eher systematischer Ansatz verfolgt, der Übertragungen auch auf die Improvisation über Modelle der Wiener Klassik sowie eine Fortentwicklung zur Gruppenimprovisation, Akkordinstrument + Melodieinstrument(e)/Vokalstimme(n) gestattet. / This article addresses improvisation as a perspective complementary to interpretation and analysis in the explication of a work and its style. In order to bridge the shock that often results when an instrumentalist trained in playing literature leaves the safe haven of the printed score, a methodical guide to improvisation is offered that enables the player to conquer the newly won freedom by first introducing restrains before one eventually transgresses these initial boundaries. The method addresses tonal improvisation and is oriented around compositional models of the time following Beethoven, ca. 1850. At the same time a rather systematic approach is employed that allows crossover into improvisation over models drawn from Viennese classicism as well as extension activities involving group-improvisation and the combination of chordal instruments, melody instruments, and voice.