Music for Guitar and Electronics Leo Brouwer ­ Metafora del amor (1974) Barbara Kolb ­ Looking for Claudio (1975)

For guitar and tape. Tape part consists of pre­recorded guitars, mandolin, chimes, vibraphone, and voices. Written for David Starobin.

Clarence Barlow ­ ...until… (1980)

For guitar with sine tone drone. This piece is comprised exclusively of natural harmonics. Explores a microtonal sound­world by altering the pitch of the drone.

Lukas Foss ­ Chaconne (1987) For guitar and pre­recorded guitar. Written for David Starobin.

Michael Starobin ­ Chase (1987)

For guitar and live electronics or computer. Sounds like music from an sci­fi action movie. Written for David Starobin.

Steve Reich ­ Electric Counterpoint (1987)

For electric guitar or amplified acoustic guitar and tape. May also be performed with a live guitar ensemble. Three movements: Fast, Slow, Fast. Minimalistic with extensive looping of parts. First recorded by Pat Metheny in 1987.

Robert Morris ­ To the Nine (1991)

Program notes: To the Nine was commissioned by and dedicated to Todd Seelye in 1991. The title refers to "the tuneful Nine," the Muses of Greek antiquity, and to the various "nines" of the piece. For example, the maximum number of contrapuntal voices in the piece is nine. The work can heard as a kind of chamber concerto, mixing elements of the Baroque concerto grosso and the more dramatic concerto of the nineteenth century. Indeed the electronic sounds themselves suggest both types of concerti since they both embellish and contrast the plucked string sound of the guitar; they range from neighboring harp, lute, and pizzicato sounds to sustained wind, brass, and other not­so­easily described sounds. The interaction of the guitar with the tape is multivalent; sometimes the guitar opposes, other times confirms or embellishes the tape sounds; at still other times, it embeds unto camouflage in the piece's weave of lines, gestures, and textures.

Mario Davidovsky ­ Syncronisms No. 10 (1992)

For guitar and electronic sounds. One of a series of twelve electro­acoustic pieces composed between 1963 and 2006. Says Davidovsky: "One of the central ideas of these pieces is the search to find ways of embedding both the acoustic and the electronic into a single, coherent musical and aesthetic space… In those works, I try to keep, on the one hand, as much as possible of what is characteristic of the electronic instrument [medium], and, on the other, what is characteristic of the live performer. At the same time, each extends the other." Written for David Starobin.

Steve Reich ­ Electric Guitar Phase (2000) Solo electric guitar phase piece.

Nigel Westlake ­ Hinchinbrook Riffs (2003) For guitar and digital delay. The piece consists of a string of "motives" or "riffs" that are digitally copied within the delay & made to repeat 600 milliseconds (about half a second) after they have been performed "live". The performer is required to interlock with the delay signal by adhering to a strict tempo indication (100 beats per minute), creating the riffs to interplay & trip over themselves, causing interesting rhythmic & melodic variants that surge & ebb in wave ­ like formations.

Eric Shwartz ­ Song Softly Sung in Trying Times… (2007) For guitar and white noise with optional ‘passed out bachelor.’ White noise from a tv acts as a drone while the guitar plays a mournful, haunting song over the top. Commissioned by Aaron Larget­Caplan for his “New Lullaby Project.”

Ronald Bruce Smith ­ 5 Pieces for Guitar and Live Electronics (2007) The composition consists of five short pieces and, as might be gathered by the title of each piece, it is reflective of our current time of conflict. Much of the music in this composition requires a high­level of guitar virtuosity. It was written with the outstanding technique and musicianship of David Tanenbaum in mind.

Dai Fujikura ­ Sparking Orbit (2013) For electric guitar and electronics.

Arthur Keegan­Bole ­ Nocturne (2014) For guitar and electronics. Uses samples from the BBC Shipping Forecast as well as the tune Sailing By to create a surreal lullaby, introduced by BBC ‘pips.’Electronic programming consists largely of sine tones blended with modified guitar harmonics. The performer uses a footswitch (USB or Midi) to advance the tape sections. Written for and dedicated to Tom Torrisi.