I struggled for the next three years with exactly how the book should be presented. Should I only do sketches? Should I include poetry or not? Should I include pieces with non-conventional notation? Should I write arrangements for the sketches? Should I add chord changes to the pieces with melody only? Should I update scores for earlier years to my current thinking? Should I

write out arrangements for pieces with complex chord structures? Should I have multiple arrangements for the same pieces? Should I come up with new language to define unique chord groupings? Should I only include jazz pieces or “serious” pieces? (A derogatory word as I see it.) Should I include children’s tunes? Should I have an accompanying CD?

I struggled with categorization and what may be “acceptable” to critics. At one point I decided to cut the poetry and include as many short scores as I could find from 1977 to 2006 and use this as an largely as an archival document. Larger works, ensemble pieces, arrangements and performance pieces were excluded from the book.

I learned so much about myself and the development of my style over the past thirty years from doing this book. I remembered compositions that I never wrote down. I completed scores that were unfinished. I wrote new arrangements for old scores. I wrote new pieces. I wrote changes to scores without them. I transcribed improvisations. Even the night before the final editing session I wrote a piece and called it “Zygomorphic Fantasy and Fugue” just in case we could add it to the last page of the book without interrupting the layout and index. (The piece did not get in the book. That’s for the next one.) Please read on to find our more about the book. I have included a copy of the Recordings page, the Preface and the Alphabetical Index as well as score/audio samples. Additional samples can be found on the Store Page with the CD’s.