Wild

This track has a tempo resembling the Flintstones theme—quick and vibrant. The 2/2 time signature isn’t commonly used in modern music, which makes it stand out.

Upside Down:
Written as the final track for the album, this piece presented challenges for weeks. However, in one marvelous moment, a simple transposition tied everything together. The composition evokes a style reminiscent of Rogers and Hammerstein, with a topsy-turvy twist.

Armenian Princess:
A fusion of East and West, this track uses the octatonic scale mixed with Western blues to create an intriguing amalgamation of genres.

Nocturne:
A jazz waltz written in 6/4 with a melody that echoes the style of Erik Satie. The piece was designed to be lyrical with a touch of playfulness in the solo sections.

Quagmot:
Originally conceived as a totally chromatic melody that transitions upward by one tone into a diminished motif, this track explores what Western blues might sound like to an Eastern ear.

Tiny Pieces:
This piece features a fragmented melody spanning an octave across a five-bar phrase. It has a swing feel and is written in 15/16 time, giving it an unusual lilt that defines the tune’s character. Imagine yourself in that restful state after a good sleep, only to be awakened by the sound of an alarm.

Camel Ride:
Camel Ride boasts a fiery 6/4 vamp, originally assigned to the piano. However, we discovered it was even more powerful when given to the bass. Incredible cymbal work rounds off the piece, finishing the album with an exciting and engaging finale.