Sonata I consists of three movements: I Palindrome, II Reflections, and III Contrasts. An octatonic mode provides the motivic and harmonic material in this trio sonata. Palindrome is so named because of the rhythmic palindrome in the first four measures of the primary theme (right hand part) as well as other palindrome patterns in the rhythmic structure of the movement. Reflections gets its title from the “mirror image” interval patterns in its main theme. This movement is also “reflective” in mood. Contrasts explores polarities—those inherent in the scale and others having to do with contrast in rhythmic motion and complexity. Given that the scale is an alternation of major and minor seconds, the symmetry of the scale can be pulled apart by juxtaposing a short series of whole steps against a series of half-steps, with both series treated as equally important thematic elements.

Passacaglia (organ solo) (1980)

A passacaglia is a continuous variation based on an ostinato that usually appears in the bass but may be transferred to an upper voice. In this passacaglia the ostinato, the harmonic material, and the melodic motives are derived from a nine-note, non-tonal mode related to the Dorian mode. There is no indicated time signature; the piece is multimetrical and contains free alternation of different measures. There are eleven variations.

Fantasy and Fugue (organ solo) (1978)

Built upon a tone row, this work shows how serial systems can be related to triadic music of other styles. The fantasy describes an arc in its formal progression, and the fugue develops into a lively dance.