ABSTRACT When I try to answer questions from students how I still find motivation to practice, I´ve come to realize that the real reason for practicing is not that I want to improve my skills, but rather because I feel so good doing it! As a wind player I need to have a free breathing to get a full sound and while improvising I am focused on the music being played, something outside my ego. Breathing and mantra; two things associated with meditation. In this performance I will play solo on bass flutes and soprano saxophone as well as present my research on inner spaces and improvisation. Medical research shows that a calm and deep breathing positively affects our body and mind. Neurological studies on music in the brain shows that musical improvisation activates many parts of the brain, especially those associated with flow. This is also confirmed by my own practice as a pedagogue and artist. Thus, it seems like the combination of conscious breathing and improvisation can make the playing more qualitative, concentrated and pleasant. With an awareness of an inner space of sound and mind, the artist, instrument, room and listener vibrate together. I suggest that with an effortless and creative approach to playing, the simplest or most challenging exercise can be a time of qualitative attentiveness and a way to increase the full potential of the artist. I also suggest a method to modal studies with inspiration from Indian and Arabic classical music implemented in a Western context where the embracing of the modal characteristics is essential. This knowledge can be implemented in both artistic practice and in teaching situations on all levels and introduces a new approach to scale studies in Western music. Other innovative contributions are the use modal structures from different traditions and extended techniques in an improvised and melodic context.