Piano Improvisation with Cards

Hi! Recently I've been returning to my improvisational roots for composing by recording improvisations. I have started making Youtube videos actually, where I have randomly generated rules, such as a theme based on randomly selected pitches, or a chord progression based on card selection. Additionally, I'm going to record "conceptual" improv videos, where either a particular musical element or experiment is the basis of an improv, or to add randomness, ask a random stranger to select some abstract, like what their highest value is, and use that as the basis for an improv video.

I like this move on composers especially to get in touch with the improvisation side of composition as well, because I agree with the observation that I think Takemitsu made that American composers tend to be very structure & form-oriented in their compositions. I'm making a move a little back towards admiring nature as a model for art, that is, to make music organic and intuitive as well as achieving higher symbolic or structural purposes, or using structures as a mean for compositional innovation.

I'm still working on putting a great connect between my compositions and improvisations, by trying to extract and understand the intuitive structures taking place in improvisations. I was curious what you guys thought of when analyzing these pieces as COMPOSITIONS. Of course, the left hand would be inevitably more repetitive than other pieces, but I still find that subjectively interesting, and also how it is diffused in the improvisational intuition. I'm trying to better understand these elements, hopefully with the help of a third perspective from other musicians. =)

I'm digging this. I also love doing guided improvisations, though I usually take a more graphic approach. I'll draw structures or a sort of "timeline" of stuff I want to happen.

As for the nature thing, well, it's a sort of silly thing to say you want to get away from structures and so on if you're mostly using rather traditional instruments/chord anatomies, etc. Plus the whole "nature" thing is very much an old hat standard, though that doesn't mean you can't use it and, to me, "nature" isn't an A 440 equal-tempered piano, if you know what I mean.

To give a more concrete distinction that's in a similar vein, musically I'm more interested in dialectic dictating the form rather than form dictating dialectic. A fugue doesn't usually have really an A and B section and so on, but dialogue in voice parts brings the music towards its own inevitability.