Initially inspired by a student who could play the Paganini 16th Caprice, that student played me a cd of Roland Dyens doing the piece on solo classical guitar. I immediately heard a ****** off Texas bar band. And so it goes:

Seemed like a more appropriate beginning. This piece pretty much covers the neck, isn’t over-done and is dedicated to my wife, Mary, who spent last Spring listening to this effort come together.

My buddy John Kovach, a fine folk harpist, thought we should do some classical in our repertoire. Now you can’t get any more classical than Carulli! I used a Telecaster. Sounds a little like harpsichord.

I make the kids sight read these things if we get that far in their studies. I saw a young violinist on T.V. do one and was struck by how much it reminded me of Bluegrass guitar. Bach is still a toe tapper anyday.

Again, an interesting setting, this time for steel string Accoustic. They say O’Carollan was Hayden’s favorite composer of melody.

World’s first ever duet for classical guitar and electric guitar, a heavy handed suggestion. This piece is based on the proposition that Segovia and George Harrison were well meaning but not exactly correct. Electric guitar, especially rock and roll type, is its own existence, a spontaneous birth. Hold the babies up together and listen. Perhaps if one considers Adam maybe you could draw such a conclusion. Vive le difference!

I had to transpose this one from A minor. Sight reading studies for the students. We bopped to this one all summer.

Inspired by Bev Ross of the WGS. When I asked her about rock music she said she thought the ugliest instrument was the bass. Good idea! Originally in E flat, it played much better on my Univox bass in G. Univox bass - $70.00 worth of lessons back in ’92. How can ya go wrong?!

From the 20 Caprices. My buddy, Mike Parrell came in and faithfully read a difficult drum chart. Originally written in ¾ time, when I played through it I heard something quite different – mixed meter: 4/4, 2/4, and ¾. The mosh types liked it! Cool!