Laurel Named for the composer's daughter and hopefully expressing some of the joy he feels concerning her. This song has two sections, with the 1st section having a calypso feel and the 2nd section with a bossa nova feel. The 1st section also has a contrasting reggae-like counter line to the melody that is played by guitar and bass. Mutation The structure of this song is in a standard blues form in a sense (with dominant I, IV, and V chords in the standard sequence), but with altered dominant, diminished, and chromatic melodic choices that, the composer has been told, gives a Thelonious Monk sound to the song. Charles Schultz This is the song that daughter Laurel says sounds like the music used on the various Peanuts Specials (A Charlie Brown Christmas, etc.), so her dad thought to name it after the brilliant man whose comics provided, and continues to provide, so much pleasure to so many. Remembering Tomorrow When writing this tune, the composer was conscious of letting the melody dictate both the timing of the chords and the chords themselves, rather than trying to change the melody to 'fit' a certain preconceived structure and harmony. Somehow this song seems to have both a nostalgic, reflective feel to it and a forward momentum - thus the title. Synthesis One of the more complex forms in this collection, this song was written with the intention of combining various tonal materials in unusual ways (and hopefully) of being both challenging and fun to improvise upon. After the solos there is an interlude that is ambient in nature and is meant to provide a mood and tonal contrast to the rest of the song. A School Day's Dreaming A ballad that seems to have a wistful, longing, dreamy feel to it - of, perhaps, a memory of sitting in school looking out the window during class when a child. The song is dedicated to Genevieve B. Hall, who was a school teacher and pianist and a friend of the composer. Within The author wanted to express some of the sound, feel, and spirit of the beautiful music of North India, and yet do so with a decidedly non-Indian sensibility and, hopefully, still be respectful to the source. This composition may also, perhaps, be discussing various inner states of being. It's form consists broadly of four sections with the first being a particular morning raga that is played and improvised on guitar. The author noted that the mode/notes used in this raga fit both Bb major and B major chords and, when this was emphasized, had a Spanish sound to them (the 2nd section). Then an evening raga is played (3rd section) starting with the tenor sax and adding soprano sax and guitar as it builds into a chaotic climax that gradually dissolves into a simple form (4th section) using four chords over a rhythmic bass part based on the notes of the drone heard throughout the song. Wanna Waltz The title is a wry comment on the main compositional device of the tune: the harmonic and rhythmic movement is in 4/4 time while the melody is in ¾ time. Another compositional aspect is the use of through-composed countermelody - two equally emphasized and intertwined melodies. The prelude is through-composed. Suite Rose Named for the composer's maternal grandmother, Rose Belaief, this song has many sections (thus one of the meanings of the title), and was written in a sort of catharsis for the many feelings about her: loss, celebration, joy, and longing Gymnopodie IV Dedicated to the composer's mother, and possibly describes in musical terms the path and some of the travails of her life. The title, by the way, is a reference to three solo piano pieces written by the French classical composer Eric Satie early in the 20th century that influenced this tune structurally. According to Satie, a Gymnopodie is an ancient Greek dance. The Wind and Sand Having heard the late great European jazz trombonist Albert Mangelsdorf playing one pitch while simultaneously singing another (multiphonics) over 25 years ago, the composer was inspired to write a song using this wonderful sound With the trombone or euphonium producing two notes, and the bass playing two notes simultaneously, the composer was able to present harmonic movement within the song with just two instruments (and instruments that usually play sequential notes). Somehow, the resulting tune conjured up images of the desert for the author, thus the title. Village The idea was simple: Could some of the sounds and concepts of an African drum choir be translated to a pitched-instrument improvisational context? And be interesting and something different, and yet familiar? And if so, how could each voice be differentiated enough to be recognizable within the context of the whole, but also blend into a unified sound presentation? In other words, could the listener have the choice (as if listening to an African drum ensemble) of hearing the gestalt of the different voices blending and/or hear individual voices; and could each individual voice be interesting in it's own right? [The listener can decide whether these musical questions were answered successfully.] Threnody The word threnody has the meaning of 'a song of lamentation.' It was written about the composer's feelings of sadness and unfulfilled promise concerning (and is dedicated to) Martin Luther King Jr. Although there is so much to celebrate in the life and accomplishments of this great spiritual leader, activist, teacher, and freedom fighter, the composer wrote this in a mood of grief and despondency concerning the loss of this unique voice that spoke so much to the potential of the human spirit.