In Chapter 6, the fourth dimension of the model is presented. The central argument of the chapter is based on the understanding that in musical, artistic, and commercial terms, free improvisation presents an alternative to the process of making music; the focus is not on the product (final result) but on the process; it is in the process that it reveals itself and takes shape. Free improvisation goes beyond the impositions of musical rules, languages, pre-established structures, and their obligations and, therefore, has a profoundly positive side that allows the practice to be open to an infinity of possibilities and to receive musicians from different cultures and at the most varied levels of expertise. From this perspective, free improvisation offers more than just satisfaction or musical pleasure and begins encompassing a world of social desires (Burrows, Resonances: Exploring improvisation and its implications for music education (Doctor of Philosophy), Simon Fraser University, 2004). Creating during free improvisation is a way of relating to the world and wonder as an experience (Glăveanu, V. P. (2020). Wonder: The extraordinary power of an ordinary experience. Bloomsbury Academic.). In addition to the sound and aesthetic aspects, free improvisation, through the freedom of experimentation that its creative process offers us, also presents itself as a suitable place for the generation of social relationships and the cultivation of interpersonal empathy in these relationships (Born et al., Born et al., Born et al.Lewis et al.Straw (eds), Improvisation and social aesthetics, Duke University Press, 2017). This possibility of creating without pre-established limits builds contexts of creative oases, where the fear of making mistakes or being frustrated operates with less vigor on the creative actors.