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The author’s article attempts to emphasize the place and role of maternal improvisation in the mother-baby relationship as well as in the emergence of the subject. He proposes to distinguish three stages which would be associated with maternal improvisation. The first stage is dominated by supposition. The mother speculates abilities and intentions in her baby long before they appear. Even if they are not yet present, the simple fact of speculating these abilities and intentions enhances them. It consists in an act of pure belief which is not necessary expressed in vocalizations or in words. Another stage would be characterized by an essential partnership with the baby: more than a dyad, the mother and the baby form a true duo. Both are equal partners in co-constructing a work with undeniable musical dimensions in which rhythm and melody play an important role. This stage is the one of the communal work. Finally, the last stage refers to the mother talking to her baby by favoring language rather than the vocalization. She does it all in a questioning way in which a place is indicated to the child. He or she cannot speak yet, but the mother’s environment hypothesizes that this place drawn by the child will one day be occupied and an “I” will emerge.