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The Labyrinthine Trilogy represents the culmination of my studies at The University at Buffalo. The piece's generating idea comes from the “Choose Your Own Adventure” series of children's books and my growing desire to create musical scores that allow the performers significant freedom of interpretation without sacrificing the work's identity as a composition. Like the “Choose Your Own Adventure” books, the Labyrinthine Trilogy presents the performers with a series of choices that ultimately determine the succession of musical events. Despite the piece's modular layout, the background structure is fixed. Book I of the trilogy is divided into five sections: introduction, saxophone solo, ensemble episode, flute solo, and coda. Within this fixed form, each player's choices during the performance determine the nature of the content within each section. Among the factors determined by performer's choices in Book I are the pitch content and tempo for each of the sections. In Book II, the performers enter the labyrinth. Very quietly, and using small percussion instruments, the performers proceed step by step through a maze of page turns, creating a tense background of quiet percussion and the normally extraneous noises of shuffling pages and moving furniture. In addition to this background, the performers are periodically asked to describe some of the surprises that they encounter along the way using their voices and primary instruments. On the surface, Book III resembles Book I in many ways: players return to their primary instruments, there is an emphasis on accompanied solos, and a fixed structure has its details filled in based on the choices of the performers. The mechanism by which players make choices is significantly different in Book III. In Book I, players made choices independently, but in Book III, most choices are made by players listening for cues played by the current soloist. In this way, whoever is the soloist at any given time has a significant control over the outcome of the piece as a whole. Book III consists of an opening piano solo, followed immediately by a guitar solo accompanied by a series of overlapping loops from the ensemble. The guitar solo gives way to a violin and contrabass duet, and the piece concludes with an ensemble coda returning to the material, if not the mood, of the opening of Book I.