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This is a ragtime piece influenced by my love for Scott Joplin`s music.
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A gift for Eugene Flaherty, who once lent me some beautiful Irish music from his homeland. His ability to exhibit grace and kindness in the face of extreme adversity was inspiring.
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Written partly for Katherine Leaman, whose life and death would forever alter my perspective on life and death, and partly for our cherished nieces - her first and my only.
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The little town where I grew up had only one of whatever it had, including a dime store. Like almost anyone who has ever picked up a guitar, I was a great admirer of Chet Atkins.
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Trying to evoke the spirit of that powerful music that had its origins on back porches and beer bottles.
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I was aiming for a theme that would allow successive melody notes to ring out and overlap texturally. It conjured up the notion of something floating downward.
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A coffee shop in Oak Park.
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I learned G minor tuning for a modal Scottish piece. The tuning had such an ethereal quality that I needed something else to play in it.
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Moving forward with a sense of purpose - destination uncertain.
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This song grew out of a variety of influences, not the least of which was my interest in Latin American folkloric music and dance.
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Written for harp and flute, I originally performed this song on guitar with the melody played on a quena, a wind instrument common in Andean music. In this version Susan Ross plays the melody on cello.
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The frivolity of youth, name spelled backwards, colored chalk...
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Where fond memories are kept. Written to mark my father`s passing.
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On a Sunday afternoon at El Nandu, an Argentinean restaurant in Chicago, Hector Fernandez and I performed at the first art exhibition of the paintings and drawings of Martha Juarez. (The creaking door closing at the end of the piece was purely unintentional).
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