This work is made up of a lyrical, meditative “song” followed by three multisectional dances. The entire piece is continuous; it is not a set of independent movements. The sections flow like a dream sequence in which one surrealistic dream grows out of another; the sections are nonetheless unified and developed with ostinato figures and subtly related motives that transform and evolve as they weave into new rhythmic patterns and non-tonal harmonic progressions. The harmonic language is based on non-tonal modes having nine or ten notes per octave—modes inspired by flamenco patterns. Among the dance rhythms are habanera (with tresillo), charrada, bolero, and tarantela.

Toccata (organ solo) (1987)

Toccata is based on three interrelated themes. The primary theme, from which the other two are generated and developed, occurs in its entirety in measures 39-42. The harmonic and melodic materials come from a nine-note, non-tonal mode which is derived from the Phrygian mode. The work offers dramatic contrasts and lyric passages in addition to the technical virtuosity suggested by its title. The secondary theme appears throughout the piece—in both lively and lyrical passages—and serves as perhaps the most significant unifying factor in the piece.