1. Endblown shepherd’s flute; improvisation on two melodic ideas. Sumatran saluang. [1:55]
2. Another improvisation on an old European long pipe, employing harmonic overtones. Cylindrical tube. [2:52]
3. Improvisation on the ancient panpipes, used for melodies and signalling, especially in mountain regions. Often associated in Iberia with knife sharpeners and itinerant animal castrators. [1:37]
4. The trump, or jaw harp, an Iron Age instrument which also utilizes overtones. This performance demonstrates the old European style of a duple melody changing to 6/8. [2:26]
5. The traditional one-man-band of pipe and tabor, here with Duane Lakin-Thomas and Lewis and Paula Peterman in concert in 1982, in a medley with Cantiga 119, again using a duple melody changing to 6/8. [2:44]
6. A small, 3-stringed, piriform short lute which evolved into the gittern and, with the introduction of the bow around the 11th century, produced the rebec. Here, in an ancient 7-beat dance rhythm. Self made, carved from a dead pear tree in my yard. [1:39]
7. The indigenous European short lute, called guitarra latina to differentiate it from its imported long-necked cousin, was to become more important as Islamic influence waned, eventually giving rise to vihuelas and guitars. Melody in 4, preceded by an improvised intrada. Guitarra latina, square adufe. [3:54]
8. A small 3-string long lute of the tanbur family, called guitarra morisca in Spain to indicate its introduction from the Middle East, as opposed to the indigenous form of short lutes. Variations of the melody including developments suggesting its possible evolution. Small cura saz. [2:19]
9. Hemiola, the rhythmic interplay of duple and triple meter, occurred in European, especially Iberian music, and was famously influential in the New World. Self made guitarra latina [as #7], medieval lute, percussion. [3:22]
10. Canons, caças, occurred in northern peninsular traditions, harkening back to ancient Old European roots. Three guitarras latina [as #7], medieval lute, self made carved body Central Asian style lute, percussion; in 3. [2:28]
11. A four-string gittern, carved from a block of wood; it enjoyed medieval popularity alongside its cousin the lute but eventually lost favor. Melody in 3. Self made gittern, alto recorder. [3:27]
12. A 5-string guitarra morisca with Nylgut strings and frets, plucked in a free, assymetrical rhythm. Reflecting the unstable nature of many intervals, especially thirds, it utilizes a major 3rd in ascending passages and a minor 3rd on descent; free rhythm. Self made guitarra morisca. [1:57]
13. Another 5-string fretless tanbur with nylon strings, strummed in Central Asian style in a major scale in four. Kirghiz komuz. [2:20]
14. Numerous recorders, both melodic and drones, playing only the first phrase, accompanied by various percussion; in a somewhat Amazigh style in 4. [1:53]
15. A self made guitarra morisca, with 5 steel strings, medieval lute, and guitarra latina [as #7], in minor as notated, with frame drums. [5:00]
