Creating Classical music for the third millenium. The soundtrack Full Moon came to mind after a trip to Yellowstone National Park in Wyoming. From a dark hilltop I heard teh bugle of an elk. Across the valley a mating call echoed in reply. The idea clicked in my head to morph the sound of the elk bugle into the melody line of Debussy's piano piece 'The Little Shepherd.' as if th little shepherd on the hillside was playing his fute solo directly out of the sound of the elk bugle. What prompted me to put together this CD, combinibn styles that are opposite on the music history continuum is a combination of two things: my own love of many styles of music and my love of nature. In my imagination, I could hear all these sound effects. I merged them together in spite of their opposite natures, creating a unique sound. I was drawn to blending early music and modern instruments. I crossed over all the lines of orchestration using everything from clavichord to synthesizer, Renaissance tabor, and cactus rainsticks. I was referred by a forest ranger in Alaska to Dick Orleans at Moon Trailway Music in Estes Park, Colorado. Dick's wildlife recording ELK MATING RITUALS has over an hour's worth of elk mating calls. I spent an entire morning listening to these elk calls. Finally, I chose the perfect call that could be morphed smoothly into the sound of the recorder. Before then engineer morphed the elk bugle into the sound of the baroque recorder I had a little homework. I approached a local Seattle instrument builder, David Ohannesian. I played the sound of the elk for him. After listening to a couple of David's recorders, we chose the baroque alto recorder to best morph into the sound of the elk bugle. The instrumentation for 'Street Noise' may seem a bit off the wall. I used Irish uillean pipes, and yet the Renaissance dance pieces are Italian. At a Christmas concert I heard Tom Creegan playing the uilleann pipes, and I knew I had to record the sound of the instrument. I already had an image of a street scene with lively musicians. The Ungaresca and Saltarelle and the pipes seemed fit for each other. After adding Peggy Monroe on the Renaissance tabor (drum,) David with his flourishing improvisations on the Renaissance recorder, and me on the harpsichord, the dance scene seemed complete. Overall, the pieces in this CD fit together under the title of Full Moon according to a story which is in the CD jacket cover. Beginning with a full moon, an Indian prays a sacred chant for a successful hunt. This is where the elk bugling occurs. Next the music moves to the distressed mother's lament in Herod's Decree. My Lady's Lullaby and Trio soothe the sleeping Christ child. The sounds of the crackling fire in Fireside remind us of our mortality, that is, ashes to ashes. Later in the afternoon, we pass the abbey, where Mother Abbess, and the nuns are chanting. At the close fo the day, we have come almost full circle to the full moon. This is when we hear soprano Margaret Harshbarger proclaim the 'darkest hour is just before dawn.' The Indian birdsong tells of looking for the Promised Land.