The title Sea of Tranquility refers to the economical way of organizing the pitches in this work; carefully chosen tones are fixed to their places for a very long time. All the twelve notes of the tempered system are introduced not before halfway through the work. Changes also do occur, however, very slowly: like the very first note, the guitar’s low E stays steady in its place almost during the whole work. Only in the end, it finally starts to move, although in a surprising direction. Despite the stillness being an essential part of the character of the pitches, Sea of Tranquility also has its surging waves: occasionally, static situations grow into a furious storm. Although this is a concerto, I wanted to avoid the most common concerto clichés. Instead of a large orchestra, only six carefully chosen instruments accompany the soloist. The guitar is not an indisputable solo star; it often merges into the same fusion with the other instruments. Besides some brief soloistic moments, a proper classical solo cadenza does not appear. The only cadenza-like passage turns quickly into a duo for guitar and saxophone. TR, 2005