|A Short Amusement
||A modest little thing, the first piece I wrote for classical guitar|
|Tune for Conor
||A love song to my brilliant, beautiful, and graceful son
|Five Small Pieces No. 1
||One of several expressionist pieces I wrote while studying composition in Vienna (with Gunther Kahowez).
Jagged, spare lines, concise. In the manner of Anton Webern.
|Five Small Pieces No. 2
||Second of the set of five. Quiet, semi-minimalist. Anticipation of something that never happens.
|Five Small Pieces No. 4
|| Expressionist style,
with varied sentiments expressed, ending in gentleness.
What happened to No. 3? I have scores available for No. 3 and No. 5 but have never recorded them.
|Study No. 1
||First of a set of 10 short studies in a modern style.
|Study No. 3
||A study, #2 of 10, mostly in two parts which constantly overlap. The focus is on holding one voice |
while changing the note for the other voice.
|Study No. 4
||This study, #4 of 10, focuses the player on various statements of a short theme, in different voices on the guitar.
They might overlap, or be inverted. The entrances are marked by capital letters.
|Study No. 5
||This study is for practicing slurs, which consist of hammer-ons and pull-offs for the left hand. |
A rather whimsical feel to it. I didn't title or sub-title these studies.
If I had done so, this one would be named something like "Marionette."
|Study No. 7
||This study, #7 of 10, focuses the player on thumb work.
The thumb is used on different strings and ranges, and has to be articulated well
but should not dominate the sound: the melody should still be clear and lyrical.
|Study No. 8
||This study, #8 of 10, needs a focused continuous forward motion, through several different types of textures.
|Study No. 10
||This study, #10 of 10, uses the bass (thumb) for much of the melody.
As with the other studies in this set, the player also needs to be (or become) comfortable with dissonance.