This is the first "performance" piece I learned many years ago. At times I have performed this with my father accompanying on the violin. It is a melancholic gypsy tune, well known amongst guitarists and listeners alike.

This particular tune is taken from twenty studies written by Fernando Sor. I chose to include it on the album as it forms part of my history as a guitarist. It brings back memories of my childhood days as I progressed through the classical guitar grades.

My primary influences as a guitarist have been founded in well known classical guitarists, namely John Williams and Julian Bream. However, the incredible technique and awesome melody writing abilities of Joe Satriani have changed how I view the concept of guitar playing. This gentle tune draws influence from early classical composers.

This also (like Study in A Major) is drawn from my younger days as a guitarist. More moody than Study in A Major, I have at times performed this with my sister accompanying on the vibraphone (electronic glockenspiel).

This piece evokes in my imagination an atmospheric journey of a traveler on a laden camel through a barren desert. Randomly, a gust of wind blazes through the traveler's hair. He reaches a small town, and his spirits are refreshed by the people, the water, and the aroma of spices and Arabic food. Eventually he continues his journey back into the desert, towards the sunset and beyond the horizon.

Another venture into the world of finger-picking by the master of the electric guitar. A dark and moody tune that employs some rather acrobatic left-hand stretches.

Villa Lobos was primarily a cellist, and whilst he ventured into composing guitar pieces, his origins are still evident in this particular tune with the strong melodic line echoing the sustained qualities a cello might possess.

Two reflective love songs that I have arranged into a medley. Drawn from an amazing variety of music played at my church in Auckland, New Zealand. I feel these two songs appropriately express the heart-capturing love for someone as infinitely majestic as our Creator.

This melody was written to capture the heart of South American street music, and named from a popular dance style. It has been enjoyable to play due to its variation in moods.

Inspired by a cheesy guitar duet album, I decided this song deserved a more tasteful approach. Combining the tune with the chordal arrangement, I hope to have brought out the beauty of this old classic.

This is the most-requested song at Tommy Emmanuel's concerts. Mr. Emmanuel has challenged and inspired me to approach songs in a fresh manner. By combining a walking bass line with the melody, one can create a clever two-guitar effect.

Another reflection on the beauty of our Creator. I transcribed this tune into a "performance" item due to its beautiful but strong melodic line.

This little beauty caught my attention at one of Tommy's concerts. Employed within it is a certain technique often used by Mr. Emmanuel, namely artificial harmonic runs, producing a harp-like quality.

Aaaahh ... the famous guitar marathon. But seriously, this tune has been and will remain a landmark in the playing ability for any serious classical guitarist. Translated literally as "Memories of the Alhambra", a palace in Spain. The tune recalls the beauty of the intricate architecture, swapping between moods, perhaps to recreate the composer's both sad and happy memories while visiting the palace.

I first heard this version of this well-known love song at a Tommy Emmanuel concert, played by a supporting artist, Martin Taylor (a legendary British jazz guitarist). I have been informed by a number of friends that the dreamy atmosphere of this track puts them to sleep... I think that's a compliment!

The original tune was sourced from a quaint dance written in the seventeenth century by Gaspar Sanz. More recently the tune has had variations added to it and at one stage was performed with no orchestra. My arrangement possesses an unorthodox free-time opening, which merges into the original tune played at a more rapid tempo, and then followed by a flamenco-style bridge. The ending, oozing with celebratory flair, I composed to bring this playful tune to a surprise finale.