Think of One, Three Ways, was an experimentation into extending the facets of my skillset to include previously unexplored applications of live performance, sound processing, and interactive programing. Composing and arranging music in this manner displays the breadth of an interdisciplinary skillset, and moreover, an understanding of how to incorporate that diversity into a workflow which enables progressive experimentation based upon the layering of iterative expansions derived from previous compositional outputs. This system guarantees that even while it may sound entirely unrelated, the final output of the entire process is highly dependent upon the perforative execution of the source material. As it pertains to this example, the subsequent second and third “ways” of Think of One, Three Ways are highly predicated on my drumming performance, the execution and effectiveness of which is augmented by an acute understanding of the historical and cultural familiarity regarding the chronological evolution of the  drums’ role in jazz: a transformation from a supportive, time-keeping device, to a featured vehicle for jazz soloing and interactivity.