If we accept that musicality in its highest form can arise in a n instrumentalist only when unity with the instrument is achieved, then one of the larger problems facing applied music teachers becomes how to make the student feel at one with the instrument. Proposed solutions to this concern are numerous and include tension-releasing programs such as the Alexander Technique and Kato Havas's remedies for the basic "fears" of violin playing. Yet a different way to achieve a unity between musician and instrument exists, one that has elicited little discussion so far. This is improvisation, an approach that circumvents many of the tension-releasing methods and yet still promotes an intimacy with the instrument.