Years ago a doctoral composition teacher scolded me for combining English and Italian instructions in a chamber piece. He started me thinking about the role of words in a score. Unrepentant, I still combine languages—if an Italian word is likely to be more readily informative to a musician than an English expression, I grab it; conversely, when American slang says it best, I use that.

A musician from one of the many ensembles I've led over the years, has requested repeatedly that I communicate my intentions very explicitly. He feels that more information rather than less is very helpful to musicians dealing with new music where there are relatively few road maps.

The comments of these two men, combines with my own experience as a bandleader and performer. There is an incalculable quantity of information communicated, not all of it verbal at all, when I am physically present during the rehearsal and performance of my music vs. when I am not. How can we replace the intimacy of this experience? What would Duke Ellington do?

In this score you will find titles and commentary which suggest a narrative. I compose the music first; then I look for a verbal or conceptual structure which will express my musical intentions vividly to the musicians who read the written music. It is not necessary for the listeners to be consciously aware of the narrative; if the musicians are responding to the musical and verbal construct on the page, I believe the music will tell its own story. I have no objection if you want to include the narrative in a program note, as long as it doesn't dominate the listeners' impression of the piece.

Rondo of ostinati for jazz orchestra, commissioned by the Charles Fox Fund of the Alumni & Friends of LaGuardia. Premiered by LaGuardia High School of Music & Art Junior Jazz & Pit Orchestra combined under the direction of Bob Stewart.

I'm considering revising this piece for concert jazz band or symphonic wind ensemble.