abstractions for double bass, piano, and optional electronic processor was written during the summer of 1993 at the request of Luis Gomez-Imbert and Juan Francisco Sans. This composition marks a turn back to a more lyrical style after a series of works that experiment with disjunct and somewhat schizophrenic figuration. The musical material is drawn from a group of five-note and seven-note chords that share similar features. The musical surface is lyric, contemplative, and at times etherial. The electronic processor functions to color the bass, enhancing the musical atmosphere. As the composition unfolds, the musical gestures flow from one to another, creating fluid and organic musical links.

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