Scores

Here it is. The opening of the title piece from my CD, The Crossing. The meter changes on almost every bar.
 

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After the middle jazz solo section, the second theme (vibes, guitar) is combined with the first theme (in the bass). Then at K, the first theme is passed to the mandolin and vibes while the second theme sounds in the guitar and bass.
 

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Aubade is on The Crossing CD (buy it).

This page from the full orchestral arrangement shows the entrance of David Grisman's mandolin solo (as heard on The Crossing CD) at 9 . Here the solo is transcribed for solo violin.
 

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Big Basin Breakdown is on The Crossing CD (buy it.)

Originally conceived as a contrapuntal dialog for four acoustic guitars (as it appears on The Crossing CD), this arrangement of Greensleeves also is quite effective for string quartet. Notice the appearance of the principal melody in the bass voice at measure 33.
 

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Greensleeves is on The Crossing CD (buy it).

This is a simple piece entirely built upon the notes represented by my street address
(1-6-1-6-5). In 1996 I was the bass player on a cruise ship sailing the Caribbean. Not a very demanding job, to be sure - snorkeling off Cozumel, the Bahamas and the Cayman Islands; eating the same fantastic food as the passengers; and hearing a lifetime's worth of steel band music in only two months! However, I did get homesick, and so I composed Home on board.
 

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This clip is the climax of the second section of Ishi Sings, which is based upon the Yahi tribe's Thunder Song. The maximum dissonance at 36 (representing the annihilation of the Yahi by white settlers) gives way to a tranquil passage leading into the final section, which is based upon the Yahi song "Dancing Song of Dead People in Other Worlds."
 

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Here we see the saxes completing one of Beethoven's variations on the Ode to Joy theme, and at 73, it segues into my jazz/blues series of variations. (Don't forget that the saxes are transposed top to bottom: soprano in B-flat, sounding one whole step lower; alto in E-flat, sounding a major 6th lower; tenor in B-flat, sounding a major 9^th lower; bari in E-flat, sounding a major 6^th + one octave lower.)
 

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This page shows the middle, improvisatory jazz section leading into the first and second entrances of a three-part canon derived from the principal theme of the piece.
 

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Pasque March is on The Crossing CD (buy it.)