A piece I composed in 2022, inspired by the work of Agustín Barrios Mangoré and J.S. Bach. The piece is mostly relatively easy but there are a few tricky passages that may challenge a beginner so I included my fingerings.

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A piece originally inspired by the mood of a steel string guitar piece by Alex deGrassi, this composition is simple in texture but requires some thoughtful left hand fingering and excursions up the fingerboard to sound smooth.

Scroll down for demonstrations by myself and acclaimed guitarist Daniel Nistico.

An elegant waltz aimed at early intermediate players. It mostly falls under the fingers in a comfortable way, although the descending bass run in measure 24 is a challenge.

A simple piece with a folkloric character featuring the melody in the bass. It ventures up the neck but most of the chord shapes are the same, so it is not especially challenging.

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A challenging piece inspired by a few compositions of the grandfather of classical guitar, Francisco Tárrega. I have included a few fingerings for clarity but some passages have been left as an exercise to the performer, as they have multiple possible solutions.

Scroll down for a demo by Daniel Nistico. I wrote this piece as a response to his prompt when studying composition in his Creative Classical Guitar academy, and he ripped out this thrilling performance of it in what seemed like a matter of minutes!

A dreamy, harmonically rich arrangement of the old song “Down by the Salley Gardens,” by Herbert Hughes and originally with lyrics by W.B. Yeats. It is not physically difficult but uses much of the fretboard and the chromaticism may provide reading challenges for less experienced players.

Below you can find acclaimed guitarist Daniel Nistico performing an earlier draft of the arrangement without the passage of harmonics that I added later.

This is a common piece from the guitar repertoire. My edition is not a scholarly one and the notes are the same as all other guitar editions I have seen, but I have made two changes to the usual ways of playing it:

• I propose fingering solutions for sections where I felt the other editions I have seen broke the harp-like texture of the overall piece.

• I changed the section which typically includes an unergonomic stretch with a pinky barré by moving the bass note up an octave, allowing the passage to be much more comfortable to play.