This piece has two objectives. One is to provide the opportunity for a soloist to play completely freely. The other more important objective is for the rest of the group to 'ghost' the soloist, imitating as closely as possible the rhythms and pitches of the solo, as it is being played, until the soloist has finished.

I SELECT an order of soloists.

II BEGIN the piece from the group's silence.

III AS soon as the first soloist produces a sound, the rest of the group starts to 'ghost'

IV THE role of the soloist is: a) To play as freely and uninhibitedly as possible. b) To provide a lead sound for the rest of the group.

V EACH individual within the group attempts to shadow the development of the soloist, moment by moment, not being distracted by the collective ensemble sound.

VI BECAUSE of the impossible challenge of following the soloist's every move, the group should be careful to maintain a sound balance that always allows an aural distance between the soloist and the accompanying collective tie the soloist should always be heard by everyone.)

VII MOVING from one soloist to the next: as a soloist may choose to leave gaps within their solo, a long pause should be left at the end of each solo so that it is clear to everyone that one has ended and the next one is about to begin.

VIII IMMEDIATELY after the new soloist begins, the group restarts its 'ghosting' IX THE piece ends when each member of the group has taken a solo, and the piece can be seen to have come full circle.

X ALTERNATIVELY, when all the members of the group have taken a solo, the last soloist can merge into the accompanying sound, so that everyone is now on the same low dynamic level. From this point the piece can move into a group improvisation.

CHECK

Dynamics: it will be necessary for the 'ghosters' to maintain a quiet sound throughout, even when the soloist is playing loudly. If the soloist does play very loudly, and the group plays correspondingly loudly, then the group will immediately drown the soloist, especially if the soloist's next move is a quiet one.

Any member of the group must feel free to stop the process if, for any reason, they cannot hear the soloist, or if the soloist feels that the group is overdominating.

Some players may have to invent new ways of making a sound on their instruments while ghosting. For instance, a horn player ghosting a recorder or acoustic guitar could rattle the keys or produce a breathy sound without articulation.

Everyone must keep their eyes closed, as they should be listening for the soloist, rather than watching them. This is an aural exercise.

The group has to be on guard against anticipating what the soloist might do next, always subordinating their individual reactions to the all-important ghosting.

The group must be so aware of the soloist's every sound, that whenever there is the slightest pause in a solo, there should be no 'overlapping' by the ensemble. When the soloist is silent at any time, the group should also be silent.