This track is featured on 'When Evening Falls'

Presented in three entwined themes, Reflecting Absence is a contemporary classical guitar composition by Tom Salvatori and offered as a musical depiction of the terror attacks specifically directed at the World Trade Center on September 11, 2001. The piece features Salvatori as the guitarist accompanied by cellist John Catchings and bassist Craig Nelson. It is named in honor of Michael Arad's compellingly beautiful architectural design selected to be the centerpiece of the National September 11 Memorial and Museum at the WTC site.

Reflecting Absence:

1. Around Corners - portrays the dark secrets that the terrorists had in mind as they waited in queue to board their flights
(0:01-0:41) Understated, melancholic and pleading theme musically depicts the first group of terrorists arriving at the airport to board flight AA11
(0:42-1:14) Variation on the initial theme is used to illustrate the second group of terrorists arriving at the airport to board flight UA17

2. Towers Toll - reflects on the act of terrorism as the hijacked airplanes hit their targets...the immediate effect and the aftermath endured
(1:15-1:43) Guitar strumming motif and cello characterizes the sound of the jet engines and tension in the air as the hijacked American flight attacks the North Tower
(1:44-2:16) Guitar rasgueado technique and cello presents increased tension in the air as the hijacked United flight made its approach to attack the South Tower
(2:17-3:01)...for whom the bell tolls. This devastatingly sad solo guitar figure renders the eerie silence that must have been heard up in the Towers after the crashes occurred; with the uncomfortable bended note of the classical guitar calling to mind the gut-wrenching decision of those choosing to step off Tower's edge

3. Fireside Chat - Represents families gathered in living rooms across America as the events of the day delivered more questions than answers in the uneasy shadows of the evening hours
(3:02-4:28) Call and response interplay between the guitar and cello musically illustrates family discourse to try to understand the hate behind the attacks
(4:29-5:04) A reprise of the Towers Toll strumming motif - this time slowly finger picked in paled, muted comparison...with the intent to be a musical reminder to never allow the memory of these barbaric acts of war fade. The cello soars freely and melodically above the guitar to represent the raising of the lost souls from the site
(5:05-6:39) More discourse call and response...this time with bass entering the piece to musically represent the 'beating of the war drums' to portray the coalition commitment to uproot the axis of evil, its terrorists, their leaders and those who harbor them
(6:40-6:51) A guitar-istic tribute of two light harmonic notes and their ensuing overtones ascending quietly to symbolize the twin columns of blue light beamed into the sky above New York during the religious and memorial services held March 11, 2002 and on subsequent September 11 anniversaries