Compositional Improvisation CD and the Templates

Correlations between my CD "Compositional Improvisations™ From The "Mysteria", and "Compositional Improvisations Vol I: Water":

Because these are improvisations, the use of the motives in the templates is to some extent arbitrary, as choices were made "in the moment" of improvisation--which is one of the most important aspects of the templates, one that can bring tremendous spontaneity to a performance. Other motives not in this template are used in the course of these improvisations as well, some of which may appear in future templates.
The motives are often in a different key from the template on the CD, and reflect earlier versions of the template where those motives were originally presented in different keys. You will also notice that many of the motives are presented in the diatonic scale. Earlier versions of the templates included the diatonic, but that scale was deleted for space considerations. Judicious modification of the acoustic scale (eliminating the characteristic raised fourth and flatted seventh notes) will produce the diatonic scale.
For skype (and in-person lessons in the templates) please contact:

In terms of correlating the template to the CD tracks, Track 7--"Apotheosis"--is a good place to start, as it is only 1:59 long, and also available as a single digital download from Amazon.

Track 1 (Reflects dans le soleil): uses "Sunset Water", C scales

The distinctive opening half of the motive "Sunset Water" goes through various iterations in the track before it is presented more or less in full beginning at 2:55, in the acoustic scale. Full presentation comes at 4:18, with the second half of the motive emphasized this time. At 7:18 comes an apotheosis of sorts--in the acoustic and octotonic scales--with a great deal of added accompaniment material. Various modifications of the opening flourish follow, used as both accompaniment and melodic material.
After some interstitial materials which continue to use pieces of the motive, the opening flourish of "Sunset Water" returns at 10:51. Various permutations of the melody follow: at 11:11 a rhythmic augmentation of the melody , at 11:22 a rhythmic contraction. Bits and pieces of the motive appear here and there, in various registers. A second apotheosis starts at 12:33, using repetitions of isolated cells of the motive, and culminating in a "false start" to the motive at 12:56, a start which becomes a final cadence on the opening flourish.

Track 3 (Thouros and Phosphoros): uses "Cantate", B scales

At 0:07 an acoustic-scale version of the motive appears clearly in the R.H., immediately becoming fragmented.  Various prominent cells of the motive are articulated, particularly the interval of the major 3rd, which is passed around in various registers. At 2:19 a cell of the motive is used as an accompaniment figure in the L.H.  At 3:35 the fuller melody returns in several tessituras.  At 3:56 a small apotheosis of the theme occurs.  At 6:23 a key change signals a more straightforward return of the entire melody, which soon fragments again. An unexpected entrance occurs at 8:12, where the motive makes a brief entrance, followed by further fragmentation. At 8:42 a melodic cell becomes an octotonic accompaniment pattern in the R.H., accompanying the motive in the L.H.  Hints of the motive return around 11:23; then those hints solidify into clearer statements around 11:37, culminating in a full recap of the theme at 12:04.

Track 4 (Mabou): uses "Clayton Run-Around", E scales

The theme comes in relatively late, appearing almost as an afterthought in the acoustic scale at 1:32. A broadening of theme cells begins at 2:08, and at 2:25 a fuller motive makes a sudden appearance. Fragments appear in various tessituras. At 2:58 a "stop-start" texture accompanies theme fragments, becoming legato at 3:14, transformed into a "quasi-waltz" at 3:22. A lengthy series of fragmentations and other motives culminates in a flourish at 5:29 based on the motive, which re-introduces the theme at 5:34, accompanied by similar flourishes.
An octotonic restatement of the theme at 6:09 leads to an apotheosis in trills starting at 6:32, resolving into octotonic scales at 6:43, juxtaposed with theme entrances.

Track 5 (Appledore): uses "Foreboding", F scales

The introduction uses fragments of the theme in different textures; then, at 1:21, a longer fragment of the theme appears, decorated with arpeggios which outline the notes of a cell of the melody.  A belated partial entrance occurs at 5:50; at 6:34 the first half of the theme appears; at 6:42 the second half.  An octotonic take begins at 7:04; and finally at 7:15 comes perhaps the first full statement of the theme, still in the octotonic.  At 7:52 another partial entrance occurs.  At 9:40 a heavily embellished version of the theme enters; then at 10:07 a quieter and more complete version is truncated by a short staccato burst. At 10:21, 10:26, 10:29, short entrances occur; then, at 10:39 a more measured and thoughtful full entrance takes place, followed by partial entrances towards the end.

Track 7 (Apotheosis): uses "Waltz", Ab scales

Very straightforward. Theme in full at 0:03, repeated 8va at 0:18; modulation statement at 0:35, broken by cell fragments of the motive. At 0:57, solo entrances of the theme, then the octotonic scale takes over at 1:07, filled with partial statements of the theme. Recapitulation of the entire theme at 1:29, and one last fragment at 1:44.