László Sáry's unique method and individual expression is clearly evident in the now widely known book Creative Music Exercises (Sáry, 1999; Fekete, 2013). Their trip to Darmstadt and their meeting with Christian Wolf was significant because the composer provided not only his own compositions but also scores from the music of John Cage, Earl Braun and Steve Reich. However, there was not yet any domestic performance practice available for playing these works, so László Sáry wrote skill exercises that helped them to present the works they had acquired. The author later used these etudes to compile a volume of his work entitled Creative Music Exercises (Fekete, 2013).

In the implementation of Sáry's tasks, it is possible to deviate from the basic rules and to improve further, as there are several implementation options available to players. He consciously avoids closed forms and patterns, and in their absence, he encourages variety and the trenchantisation of creative fantasy (Sáry, 2010). Thus, it is clear from the sound that almost everything is unique and unrepeatable, a meeting of coincidences. It also reflects the philosophy that multiple solutions to a problem are possible. According to him, a creative person is not necessarily constantly active nor necessarily productive (Sáry, 2010). It rather implies ingenuity and a kind of problem-solving ability.

There are several musical methods that build on the activity of the participants, but I find László Sáry's ideas exciting because:

(a) his exercises are perfectly feasible for the musically untrained, and are very difficult and complicated for musicians.

(b) Sáry constantly stresses the need for creativity not only for the participant, but also for the leader/moderator of the exercise. Thus, he basically expects innovation from the leader, as he leaves it to the competence of the leader to decide how to vary the given exercise depending on the participants' prior qualifications.

(c) there are no "set in stone" tasks, it does not stick to its written musical games, but rather encourages their further development, thus encouraging improvisation, wittingly or unwittingly.