THINKING SONGS is based on the polyrhythmic music from the Central African Republic – specifically the music of the Gbaya people. I have chosen three different songs that became the structural basis for the piece. These songs are traditionally played on the sanza, a plucked African instrument, and they belong to a group of songs called gima-ta-mo, which literally means thinking songs. The counterpoint performed on the sanza is traditionally played on a scale of 5 tones, and it is accompanied by a rhythm stick played on the beats throughout, therefore realizing the syncopated nature of the plucked melodies. For my thinking songs I have taken these few structural elements and translated them into my own. I used three 5-note scales built out of each one of the different 6th string tunings, and have substituted the beat of the stick with a compound version of these three scales. In Naá Yanga (which translates as the mother) each guitar presents their version of the song melody, and introduces a percussive element that then is slightly interchanged between the players. From the aftermath of the first movement, the ostinato rises again now transposed, and slowly builds up to the melody of Sáló (the single man). The inversion between melody and percussion is here crystalized and gives way to Piéré (just Piéré), where the compound scale receives another transformation and the driving syncopation leads to the return of the opening gestures in the piece. In my opinion these two words, Thinking and Songs, are a very accurate description of this music (both the original and my own). It has an inviting, playful and lively character that is carried by a quite complex web of polyrhythm. It is dedicated to, and written for Mobius Trio, and it was made possible thanks to the support of The Danish Arts Foundation.