Your improvisation never seemed to run out of ideas. You placed two chords next to five just to return back to ones. You jumped from perfect fifths to major thirds, never forgetting your fast vibrato. Mixolydian tones would lead into tonic tones. You cycled through the circle of fifths, danced through different tonal centers, and caressed different key signatures. You interlaced minor chords with dominant majors and developed diminished chords with augmented tones. How did you make changes that sound so out of place, so bizarre, but so sensible.