“The 6th Curl” is an original rock instrumental intended to sound like something the Ventures of a surf-rock group might have done in the early-to-mid 1960s. The “curl” of a wave is the hollow part of a breaking wave where there is a gap between the face of the wave and the lip of the wave as it curls over. Waves with this characteristic are very desirable and are also called the “pipeline”, barrel”, or “tube”.
“The 5th Curl” is an original rock instrumental intended to sound like something the Ventures of a surf-rock group might have done in the early-to-mid 1960s. The “curl” of a wave is the hollow part of a breaking wave where there is a gap between the face of the wave and the lip of the wave as it curls over. Waves with this characteristic are very desirable and are also called the “pipeline”, barrel”, or “tube”.
“The Fourth Curl” is an original rock instrumental intended to sound like something the Ventures of a surf-rock group might have done in the early-to-mid 1960s. The “curl” of a wave is the hollow part of a breaking wave where there is a gap between the face of the wave and the lip of the wave as it curls over. Waves with this characteristic are very desirable and are also called the “pipeline”, barrel”, or “tube”.
“The Third Curl” is an original rock instrumental intended to sound like something the Ventures of a surf-rock group might have done in the early 1960s. The “curl” of a wave is the hollow part of a breaking wave where there is a gap between the face of the wave and the lip of the wave as it curls over. Waves with this characteristic are very desirable and are also called the “pipeline”, barrel”, or “tube”. Those interested in compositional techniques might note that the bass guitar part is primarily a 2-bar repeated melodic figure, introduced at the very beginning. This is called a “basso ostinato”.
This is my instrumental arrangement of “Send in the Clowns”, a song written by Stephen Sondheim for the 1973 musical “A Little Night Music”, which an adaptation of Ingmar Bergman’s 1955 film “Smiles of a Summer Night”. It became one of Sondheim’s most popular songs after Frank Sinatra recorded it in 1973 and Judy Collins’ version charted in 1975 and 1977. Subsequently, numerous other artists recorded the song, and it has become a standard.
Jazz and Classic Pop Music 
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