This work is not really a conventional concerto, nor is it a symphony, but rather, a hybrid of the two. The first movement is inspired by Egyptian Oud music, and is a series of variations on a nine-note mode of my own invention. Each subsequent variation before and after the “Taqsim” has a number of measures divisible by nine. This is also true for some groups of time-signatures. While this may seem arbitrary, in fact it is (we composers often are an arbitrary lot). The second movement is a pastiche of how Bruckner might have written a slow movement to a concerto if he had ever written one (however, melodies of Basque and Czech baroque origin are employed). Movement three is titled after an aphorism in Twee (a West African language) and means, metaphorically, “I’m no better than you are.” While using Ligeti’s concept of placing two diatonic melodies a minor ninth apart, it also moves into different bi-tonal key signatures, thereby providing some harmonic movement (although not movement in the conventional western sense). It also emulates some African dance music where often one finds regular beats of unequal length. The final movement uses two Renaissance melodies as its foundation, “A la Guerra, a la Guerra” and the title melody. In addition, there is a melody for the second group (we are dealing with sonata form, here) which has its origins in the folk music of the langue d’Oc region of France.