ACCORDI - PENTAGRAMMA - TABLATURE / CHORDS - STANDARD NOTATION - TABLATURE

FAHEY JOHN, AMERICAN PRIMITIVE GUITAR. In Christ There Is No East Or West -Take A Look At That Baby -Some Summer Day -Indian Pacific Railroad Blues -The Last Steam Engine Train -When The Springtime Comes Again -The Approaching Of The Disco Void. SHEET MUSIC BOOK WITH 3CD & GUITAR TABLATURE. 

LIBRO DI MUSICA ACUSTICA, CON 3 CD. 

SPARTITI PER CHITARRA CON :

ACCORDI PENTAGRAMMA, TABLATURE. 

... in roots music as a living, breathing thing rather than a museum piece. Industrial guitar grind dominates City Of Refuge, bathyspherelike booms echo through Womblife. White gamelan sounds reverberate through The Epiphany Of Glenn Jones. Such experimentation might have isolated him from his peers through most of the last 30 years, but in the 90s he has discovered an affinity with the ever expanding global underground communitY. "I didn't know there was an alternative movement going," Fahey admits, "so I just kept trying to create similar things to the old. I was aware that there had been an experimental movement in the 60s with John Cage and his followers, but thought they had all gone. Then some friends introduced me to Sonic Youth. Until then I didn't know what was going on.
"As defined by Sonic Youth's Thurston Moore, this "alternative movement" was out of a desire for music resistant to "commodification", be it noise, lo-fi, 20th century experimental music and improv, or global and rediscovered American roots musics like bluegrass, folk and blues.
John Fahey's work feeds the new underground spirit on a number of counts, while Revenant - the label Fahey co-owns with his manager, the Nashville-based attorney Dean Blackwood - alerts new audiences to a hidden history of American music, retrieved from the tiny regional labels scattered across its rural hinterlands.
The surprising success of the six CD box set reissue of rogue archivist Harry Smith's Anthology Of American Folk Music (for which Fahey supplied award-winning sleevenotes) attests to a desire for music that emerges from and addresses real experiences rather than a marketing man's business plan. The Revenant archive releases, meanwhile, vividly recast the past not as nostalgia but as American Primitive or Raw Music. "It was Dean's idea to do that," Fahey modestly states, "but I provided most of the information, together with this collector called Gayle Dean Wardlow. Now that the American Primitive thing is catching on we'll do more. People love the title" The range of his enthusiasms combined with the breadth of his own music make Fahey a vital link connecting today's underground with a century of raw and experimental musics. For his part, he is only too pleased to be working within his newly adopted alternative music 'community'. His instant conversion has already produced one of its finest works in The Epiphany Of Glenn Jones, which teamed John with the Massachusetts post-rockers Cui De Sac, led by Glenn Jones. The title refers obliquely to the project's unpromising start as a "retro lounge music" session - quickly aborted - which Jones's sleeve notes describe as being akin to taking part In some "hellish sensory deprivation experiment". Was working with Fahey really that bad?
The guitarist chuckles mischievously: "Glenn told me after the Epiphany that he had got on a power trip. It had happened to him before, only he hadn't realized it. He did things like not letting me meet the other members of the band until the recording sessions, all kinds of tricks, so that he could remain ultimate dictator of Cui De Sac and the project. But that's an old battle, Glenn's a friend of mine and it came out OK."

AMERICAN PSYCHO
When Fahey was venting his disgust for his 60s recordings earlier on, he went at them with a ferocity out of all proportion to the quality of music. His negative attitude hinted that something deeper was going down than a mature reappraisal of his youthful endeavours. Eventually, his hostility relents, and the negativity lets up long enough to reveal the pain at its source.
"Mainly it's a parental situation:' Fahey explains, washing down more popcorn with gulps of sweet iced tea. "I was writing these things as an escape, as a possible way to make money. The sentiments expressed come out of a messed up situation. I was creating for myself an imaginary, beautiful world and pretending that I lived there, but I didn't feel beautiful. I was mad but I wasn't aware of it. I was also very sad, afraid and lonely. By presenting this so-called beautiful facade I looked good to myself and my audience.
"This went on for years," he continues. "I always tried to put a peaceful element into the music, but it was false because I was not at peace. I didn't know what 1was doing and felt pretty phony. I didn't understand any of this until I had psychoanalysis."
Entering psychoanalysis in the mid-80s helped him exorcise the past. "Before psychoanalysis:' Fahey recalls, "I used to accidentally get so high on prescription drugs and booze that, sometimes, I wouldn't show up for a show. Or I'd be there and not know it. For a while I thought 1was going insane. People would tell me I did these crazy things, but I didn't attribute it to the Quaaludes I was taking so that the memories of my father abusing me as a child wouldn't come back."
In taking Fahey back to the source of his traumas psychoanalysis invested the innocent symbols he had carried over from his childhood with sinister new meanings. Out of a boy's fascination with turtles and tortoises, he had elaborated a personal mythology based on the reptiles, using them as a repeat motif anchoring his art and discography in his childhood.
Under analysis he recalled how he burst out screaming when he first saw a turtle. "When I was about four or five years old I saw what I thought was a penis walking across the front lawn:' he shudders. "It was just a box turtle, but it kind of upset me ..."
Analysis related the encounter to the memory of being sexually molested by his father. "The obsession comes from the psychic meaning of turtles, reptiles and amphibians. In dreams they symbolize genitalia. That's why I went to a psychoanalyst because I had all these repressed memories." The unifying visual motif of his personal mythology and extensive discography turned out to be the corrupting agent of their potential destruction all alone. Remarkably, coming to terms with the full horror of such a revelation marked the beginning of Fahey's 90s regeneration.

AMERICAN PRIMITIVE
John Fahey was born on 28 February 1939 and spent most of his childhood in Takoma Park, Maryland, a small town on the outskirts of Washington DC. His early musical training was at once formal and frustrating. His parents occasionally took him to see 50s bluegrass stars like The Stanley Brothers, whose early recordings Fahey would later reissue on Revenant. But though he grew up with Country & Western and bluegrass, his first instrument was a clarinet. He abandoned it at 14 when he bought his first guitar, a $17 Sears And Roebuck special, with money earned from his newspaper round. After teaching himself to pick his way through the Eddy Arnold songbook, the young, lonely and slightly crazy guitar player decided it was time to start writing his own material. The year was 1954, and Elvis Presley was just beginning to make waves in America. If the young Fahey readily embraced the ...

DYKES DOYLE, ACOUSTIC MASTERS SERIES VIRTUOSO FINGERSTYLE GUITAR. SHEET MUSIC BOOK with CD & GUITAR TABLATURE .

LIBRO DI MUSICA CON CD,

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA E TABLATURE. 

Doyle Dykes / transcr. Jon Chappell
SERIES: Acoustic Masters Series
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Doyle Dykes is the natural heir to Chet Atkins' throne. This Nashville-based virtuoso fingerstyle guitarist plays solo guitar arrangements of originals, hymns, and secular pop music with astounding feel and unheard-of technique. This volume includes Doyle's original guitar compositions and his hugely popular arrangement of The Beatles' song "Girl." Songs are:

Includes the Following Selection:
Title Composer

ANGEL'S DESIRE
DOYLE DYKES

BIRMINGHAM STEELE
DOYLE DYKES

CALEB'S REPORT
DOYLE DYKES

CELTIC COWBOY
DOYLE DYKES

CHANGING OF THE GUARD, THE
DOYLE DYKES

COUNTRY FIED PICKIN'
DOYLE DYKES

GIRL
LENNON, JOHN / MCCARTNEY, PAUL

HOWLING OF THE WOOD
DOYLE DYKES

JAWBONE, THE
DOYLE DYKES

MARTHA'S KITCHEN
DOYLE DYKES

MISS HALEY'S MUSIC BOX
DOYLE DYKES

MISTY NIGHTS IN TOKYO
DOYLE DYKES

ROAD BACK HOME, THE
DOYLE DYKES

SELF PORTRAIT ON ACOUSTIC GUITAR
DOYLE DYKES

VISITATION, THE
DOYLE DYKES

WABASH CANNON BALL (PRINT ONLY)
A.P. CARTER

WHITE ROSE FOR HEIDI
DOYLE DYKES

New Acoustic Guitar contiene 12 brillanti arrangiamenti di Peppino chitarra (11 brani originali, più la sua bella versione di "Walk Away Renée", come registrato con David Wilcox). Inoltre, Peppino fornisce numerose e semplici lezioni di accordi di melodie folk per aiutare a familiarizzare con la varietà delle accordature aperte.

LIBRO DI MUSICA PER CHITARRA ACUSTICA.

SPARTITI PER CHITARRA CON ACCORDI, PENTAGRAMMA E TABLATURE. 

Il libro illustra:

Arrangiamento per chitarra sola
Composizione
accordature Alternate
Chord voicing
Tecniche fingerstyle
Il CD allegato contiene tutti i 24 brani ed esempi musicali e tutta la musica è scritta in notazione standard e tablature.

STANDARD TUNING:

Calypso Facto

Song for Carol (Duet)

Mediterranean Dance

DADGAD TUNING:

Rondo alla Turca

Echo of Delphi Valley

Acoustic Spirit

EBBF#BE TUNING:

House of the Rising Sun

Goodbye Robbie

Grand Canyon

DAC#EBC# TUNING:

Silent Night

Walk Away Renée

FBbDFCD TUNING:

Mademoiselles de Paris

Aleza's Eyes

Close to Heaven

DADF#AD TUNING:

The Entertainer

Bella Donna

EBEGAD TUNING:

Star of the County Down

Mother's Tears

COMPLETE FINGERSTYLE GUITAR METHOD, MASTERING. Eckels. CD TABLATURE

Complete Fingerstyle Guitar Method: Mastering Fingerstyle Guitar
By Steve Eckels
Item: 00-17814
UPC: 038081158594
ISBN 10: 0739016555
ISBN 13: 9780739016558

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
This advanced volume in the comprehensive method for fingerstyle guitar is perfect for experienced players who want to add greater variety, refinement, and creativity to their playing. Develops skillful tone production and dynamic control, and covers the free-stroke, rest-stroke, shifting, tremolo, planting, and inventive techniques used by contemporary fingerstyle masters like left-hand tapping, right-hand tapping, drumming, and "the scrape." Also includes unusual alternate tunings, ideas for creating your own new tunings, and arranging. All music is shown in standard notation and TAB, and the CD demonstrates all the examples in the book. 96 pages. 

ABOUT THE AUTHOR

Steve Eckels received his Bachelor's degree in guitar from Berklee College of Music and his Master's degree in guitar and jazz at New England Conservatory. His teachers have included Robert Paul Sullivan, Gene Burtoncini, William Leavitt, Chuck Wayne, Barry Galbraith, Gary Burton and Pat Metheny. In addition to concert and public engagements, he now teaches guitar at New Mexico State University at Las Cruces. He is the author of seven guitar folios, and has recorded 18 albums and Cds.

ACKNOWLEDGEMENTS

I would like to express a special thank you to those authors from whom I have learned so much: Joseph Schillinger, Yehudi Menuhin, Ivan Galamian, George Van Eps, Vincent Persichetti, Lee F.Ryan, Mark Hanson, Mick Goodrick and John Stropes. Special thanks to my violin teacher, Dr. Frank McDonald, to my friend Joe Mancilla for assistance with alternate tunings and to my editor, Nat Gunod, for his meticulous attention to detail and pedagogy.

INTRODUCTION

Greetings, and welcome to Mastering Fingerstyle Guitar. Most of you have already traveled the trail of Beginning Fingerstyle Guitar and Intermediate Fingerstyle Guitar, and are ready for the next step in your fingerstyle adventure. This book will introduce you to new musical ideas and subtle techniques that will help you reach your potential as a fingerstyle player, arranger and composer. To help guide you along your way, I have prepared examples that are musical, educational and enjoyable. Since my approach is based in art and nature, which are things common to us all, you may find yourself saying, "Of course, why didn't I think of that?" Don't worry, you don't have to reinvent the wheel. Contained in the following pieces of music are gems of wisdom that I have gathered from studying the masters of guitar, violin and composition for the past thirty years. One of the most satisfying parts of this book was composing the examples for the sections on alternate tunings and modern tapping and drumming techniques. If your background is in the traditional approach to guitar, as mine was, you might find yourself a bit hesitant about venturing into these areas. The good news is that the learning approach presented here is based on what you already know. You can and should learn to perform in alternate tunings and incorporate drumming and tapping into your playing. Primordially speaking, I think we are all drummers at heart. These modern techniques are satisfying and can greatly expand your creative potential. Another component of this book that I feel will be very helpful to you is the chapter on developing your sense of touch. In learning guitar, touch is one of the most neglected areas of discussion. It is assumed that you just press down on the fret, and that's it. There are some subtleties involved can make your playing more effortless and flowing. One of the advantages of studying out of a book such as this is that you can make steady progress, page by page. Nevertheless, be open to the idea of making a giant step forward in your playing. It can happen.

TABLE OF CONTENTS:

About the Author 

Introduction .

Review .

CHAPTER 1-Tone and Balance .

Fingernail Care .

The Free Stroke .

The Rest Stroke .

The Thumb .

Alternating Rest and Free Stroke .

Planting .

Balanced Control .

CHAPTER 2-Exploring the Harp .

Harp Finger Pattern on Individual String .

Harp Finger Pattern Using Two Strings .

Harp Finger Pattern Using Three Strings .

Harp Finger Pattern Using Four Strings .

Harp Finger Pattern Using Five Strings .

Harp Finger Pattern Using Six Strings .

CHAPTER 3-Chord Formulas .

Chords in 2nds .

Chords in 3rds .

Chords in 4ths .

Mixed Intervals .

Drop-Two Voicings .

Drop-Three Voicings .

CHAPTER 4-Sense of Touch

Gray Tones .

Gray Tones Into Clear Tones .

Relaxing The Left Arm .

Shifting Technique: Impulse and Momentum .

Pussy Footing .

Square and Diagonal Frames .

Vibrato .

Bending Vibrato .

CHAPTER 5-Fingerstyle Speed .

Right Hand Preparation for Tremolo .

Coordinating Left-Hand Patterns With Right-Hand Tremolo .

Four-Note Left-Hand Patterns With Right-Hand Tremolo .

Three-Note Left-Hand Patterns With Right-Hand Tremolo .

Two-Note Left-Hand Patterns With Right-Hand Tremolo .

One-Note Left-Hand Patterns With Right-Hand Tremolo .

Speed Bursts .

Sequences .

CHAPTER 6 -Modern Techniques

Expression And Invention .

Left-Hand Tapping .

Left-Hand Tapping With Pull-Offs .

Left-Hand Tapping With Right-Hand Drumming .

Left-Hand Tapping With Left-Hand Drumming .

Left-Hand Tapping In Double Stops .

Left-Hand Tapping In Double Stops With Pull-Offs .

Left-Hand Tapping In Double Stops With Right-Hand Drumming .

Left-Hand Tapping In Double Stops With Left-Hand Drumming .

Right-Hand Tapping .

Left- And Right-Hand Tapping in Triple Stops .

TappingTriple Stops With Right- and Left-Hand Drumming & Introducing "The Scrape" .

Tapping Triple Stops in Triplets With Pull-Offs .

Tapping And Slapping The Blues In E .

Tapping And Drumming An A Minor Blues .

Tapping A Walking Bass Line For A Blues In E .

The Ostinato Pattern, Right-Hand String Stopping

and Slap Harmonics .

Tapping With Pull-Offs In Triplets .

Tapping With Pull-Offs In Sixteenth Notes .

Harmonics Combined In Intervals With Non-Harnmonics .

Artificial Harmonics .

Harmonics In Alternation With Non-Harmonics .

CHAPTER 7-Alternate Tunings .

Dorian Tunings: C, G, Eb,A, D .

Phrygian Tuning: C, G, Db, F,G, C .

Lydian Tuning: C, G, D, E, F#, B .

Mixolydian Tuning: C, G, Bb, E, G, C .

Major #5Tuning: D, G, D, G, B, D# .

Pentatonic Tunings: C, F,C, G,A, D .

Creating Your Own Arrangements In Altered Tunings .

Alternate Tunings Summary .

Alternate Tuning Note Guide .

CHAPTER 8 - Arranging And Composing .

The Creative Process-The Seed Metaphor .

Methodology .

A "To Do " List For Composers And Arrangers .

Arranging Scarborough Fair .

Rhythmic Variations .

Motivic Variations .

Melodic Elasticity .

Same Rhythm, Different Melody .

Harmonic Variations .

Modulation .

Structural And Rhythmic Mapping .

Playful Melodic Variation .

A compact disc is available for this book. This disc can make learning the examples in this book easier and more enjoyable. The symbol will appear at the beginning of every example or song:

Use the CD to make sure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on.

The track number below the symbol corresponds directly to the example or song you want to hear. Track I will help you tune to the CD. 

MASTERING FINGERSTYLE ECKELS

MASTERING FINGERSTYLE

ALL THREE BOOKS ARE LOADED WITH:
- Examples in standard music notation and TABLATURE
- Tons of fingerpicking patterns
- Plenty of complete songs in a variety of styles for you to learn
- Lessons on alternate tunings
- Lessons on every imaginable fingerstyle technique
- Techniques and theory for making your own fingerstyle arrangements

BEGINNING FINGERSTYLE GUITAR
by Lou Manzi
With this comprehensive book, you will enjoy getting started on fingerstyle guitar.
It's also great for more experienced players who want to "fill in the gaps" and enhance their knowledge. It teaches everything from basic chord theory and pattern picking to putting the melody in the bass, alternating bass, modes, "drop D" tuning and more. Loaded with fun examples to play,the final chapter also provides a selection of complete pieces in a variety of styles.

INTERMEDIATE FINGERSTYLE GUITAR
by Lou Manzi and Nat Gunod
The perfect continuation of Beginning Fingerstyle Guitar, this book is great for fingerstyle guitarists who know the basics and are ready to take the next step. Topics include alternate tunings, modes, fingerpicking patterns, barre chords, diatonic harmony, special techniques, bass lines and an exploration of styles ranging from Celtic and country blues to contemporary "new age" styles.
Also included is an essential chapter on arranging with a clever step-by-step approach.

MASTERING FINGERSTYLE GUITAR
by Steve Eckels
This advanced method for fingerstyle guitar is perfect for experienced players who want greater variety, refinement and creativity in their playing.You will start with an in-depth look at essential techniques such as tone production and dynamic control, free-stroke, rest-stroke, shifting, tremolo and planting. Moving on, you'll discover all the inventive techniques of the contemporary fingerstyle masters such as left-hand tapping, right-hand tapping, drumming and "the scrape." Topics also include unusual alternate tunings and ideas for creating your own new tunings. The arranging section from Intermediate Fingerstyle Guitar is continued with even more creative and interesting ideas. This one-of-a-kind book is a must for any serious fingerstyle player.
BooK and CD 

ANDERSON MURIEL, HOMETOWN LIVE! Sheet music BOOK: 72 pages, WITH CD GUITAR & TABLATURE

LIBRO DI MUSICA, CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Publisher: John August Music, Mel Bay Publications (1995)
Language: English
ISBN-10: 0786614471
ISBN-13: 978-0786614479

HOMETOWN LIVE!
by Muriel Anderson
This was originally a song I wrote about one of my favorite hangouts in Nashville (my second home), the Ultra Violet Cafe. Anne Sullivan recorded it as the title track for her CD, Ultra Violet Cafe. Renamed "Hometown/' ·this solo guitar arrangement incorporates the melody into the accompaniment. The basic concept of the composition is an arpeggio - feel with a gentle melody floating over the top. The right hand fingering is crucial to getting the fluid yet rhythmic character, especially in the introduction.
Note where the thumb (p) drops down to play the notes on the third string. Think of the notes played by the thumb as a separate rhythmic figure. Beginning in measure five, bring out the melody notes louder than the accompaniment. In general, the right hand fingering stays to the one-finger-per-string concept; the ring finger (a) plays the first string, the middle finger (m) plays the second string, and the index finger (i) plays the third string, although often the thumb takes the index finger's job and plays the third string. This adds to the cascading feel of the arpeggio. Exceptions: Where there are several consecutive melody notes on the same string, alternate fingers. Two consecutive notes on the third string (measure 24) are played index (i) - thumb (p). As is true of many of the compositions in this collection, some of the accompaniment notes are played so quietly that they are meant to be felt more than heard, These" ghost notes" help to subtly keep the rhythm moving along. After you've been playing the piece for a while, you may vary the accompaniment a little while keeping the chordal structure and feel of the piece intact. Play with dynamic swells and fades. Start by getting louder as the melody goes up and getting softer as the melody goes down. Then vary the dynamics as you feel the melody leads you. Also, sing the melody as you play it, and even make up lyrics to help phrase the melody. The piece ends with right hand harmonics an octave higher than the fretted note. With the right hand, touch the point on the string exactly twelve frets higher than the fretted note with the index finger, and pluck with the ring finger. This leaves the thumb free to play the bass notes.

NOLA by felix Arndt
I discovered Nola when I was experimenting with bluegrass banjo techniques on the guitar; using as many open strings as possible in scale passages and fingerjrg the succeeding notes on different strings. This technique is often called "cross-string fingerings," used extensively by Chet Atkins and others. The notes ring into each other with a harp-like or "cascading" sound. Cross-string fingering also allows the notes to be played more quickly than would be possible otherwise. Some of the left hand fingerings in this transcription are a bit difficult, but necessary in order to keep the notes ringing on as many different strings as possible. When I first started arranging Nola, I played it at a music store for my friend and mandolin teacher Jethro Burns while he played a descending line on the mandolin. With the new line in my ears, I went home to work on incorporating it as an inner voice into my solo arrangement. From measures 21-26, the new line fits into the solo arrangement on beats two and four of the measure (instead of beats one and three where it was originally played). Pay close attention to the fingerings in this section. The descending line is indicated with accents in the arrangement. When Nola is played in the key of G with the 6th string dropped down to D and the 5th string down to G, it is possible to play all the notes of the piano transcription on the guitar (although sometimes in a different octave). In addition, this tuning allows for a great number of open strings in both the melody and bass. As the arrangement evolved, some phrases were modified from the original to maintain the momentum of the piece in a more guitaristic way. The piano version of the long run beginning in measure 54 goes below the range of the guitar.
To change the octave register of these notes would disrupt the shape of the run. Because of the cascading nature of the run, the most graceful resolution to the problem (however nonstandard) was to shorten the run by three eight notes (one beat). This is the reason for the 9/8 bar in measure 55. Another option, to keep consistent 12/8 measures (if you're playing with a drummer, for instance), is to repeat the first three eighth notes at the beginning of measure 56. (These are the notes that are an octave lower in the piano arrangement.) Sometimes the same note functions as a bass note and a melody note. This is indicated in the music by a double note with the stems going in either direction, as in measure four, fourth note. In this case, the double note head indicates the note's (double) musical functions, not to play the same note on two different strings. The notes with x's marked "muffle" are played with a down-stroke with the backs of the nails, bringing the palm down to muffle the strings quickly after they are struck. This creates a percussive effect with just a hint of the harmony. For some right hand fingering suggestions for Nola, refer to Fingerstyle Guitar Magazine, NO.5. If you are comfortable with using the pinkie finger, there are a couple of places in the theme where it would be handy to use it (in addition to the ring, middle, and index fingers.) I originally wrote this arrangement to be played on a Martin 00-21 strung with nylon strings in the bass and steel strings in the treble. Then I came to prefer the sound played on all nylon strings, on my Paul McGill classical guitar.

PERFORMARNCE NOTES
A Roman numeral means to bar all (or part) of that fret. 1/2[Roman numeral] means to bar specifically half way across.
[SQUIGGLY LINE] means to strum down or arpeggiate. In Fantasia de Fuego and In Memory of a Friend, a squiggly line indicates a rasqueado: a down strum with the backs of the finger nails, one finger after another in quick succession starting with the pinkie finger, then ring, middle, index.
Measures are numbered from [!]as the first full measure.
Right hand fingerings are indicated by p = thumb, i = index, m = middle, and a = ring.
Thanks to all my students at Wheaton college who helped me carefully proofread this music. Special thanks to Kathy Tyers. Music typography by Paul Kurtz.

To order Muriel Anderson's recordings:
MURIEL ANDERSON, Elmhurst, IL 60126
Note: Anderson's CD Hometown Live! contains three additional selections not included on the book edition CD.

Titles - AUTHOR - YEAR
- Hometown - MURIEL ANDERSON - 1995
- It Never Gets Easier - MURIEL ANDERSON - 1995
- All Thumbs - MARK CASSTEVENS - 1995
- The Three Sisters - MURIEL ANDERSON - 1995
- Arioso - MURIEL ANDERSON - 1995
- Fantasia De Fuego - MURIEL ANDERSON - 1995
- In Memory of a Friend - MURIEL ANDERSON - 1995
- Mister Chester - MURIEL ANDERSON - 1995
- After Tonight - MURIEL ANDERSON - 1995
- Nola - FELIX ARNDT - 1995
- The Water Is Wide - AMERICAN FOLK SONG - 
- Andante From Symphony For a Country Gentleman - JEAN-FELIX LALANNE - 1995