Guitar Compositions
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A brief, easy art song setting a poem by Edna St. Vincent Millay, Afternoon on a Hill captures a moment of quiet happiness and gentle charm. Its simplicity, lyricism, and clear expression make it well suited for student singers and short recital programs.
Instrumentation: voice, piano
Duration: approximately 1 minute
Publisher: North Star Music
Text / Source: poem by Edna St. Vincent Millay -
A lyrical chamber song setting a poem by Willa Cather, April Twilight combines expressive vocal writing with the intimate colors of flute and guitar or piano. The work is well suited for recital programs exploring memory, poetry, and American literary sources.
Instrumentation: voice, flute, guitar/piano
Duration: 4 minutes
Publisher: Doberman YPPAN / DO 1232 -
A quiet solo guitar work written for Candice Mowbray, At the Last Ember Light reflects Baxter’s lyrical voice through the guitar’s warm resonance and expressive subtlety. Its poetic restraint and inward character make it well suited for solo recitals and reflective concert programs.
Instrumentation: solo guitar
Duration: 4 minutes 30 seconds
Publisher: Les Productions d’OZ -
A blues-inflected art song from Two Remembrances, August sets words by Susan Laura Lugo in a warm, atmospheric setting that evokes the stillness of a sweltering summer afternoon. Its compact scale and expressive color make it well suited for recital programs exploring contemporary American song.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
A theatrical song setting Shakespeare’s words from Twelfth Night, Come Away, Come Away Death blends melancholy with gentle humor and mock-tragic character. Written for voice and guitar, its approachable scoring and expressive theatricality make it well suited for vocal recitals, Shakespeare programs, and dramatic performance settings.
Instrumentation: voice, guitar
Duration: 2.5 minutes
Publisher: Les Productions D'Oz -
A lyrical setting of William Blake, A Cradle Song moves from the intimacy of a mother’s lullaby to a gentle sacred reflection on the Christ child. Its chromatic opening and simpler, folk-like second section make it well suited for recital, Advent, Christmas, and sacred programs.
Instrumentation: voice and guitar, or voice and piano
Duration: 3 minutes
Publisher: Les Productions D'OZ (voice and guitar); Doberman-Yppan (voice and piano) -
Dos Canciones de La casa de Bernarda Alba, two short vocal works inspired by Federico García Lorca’s play, these songs contrast the intimate solo character of Ovejita with the folk-like choral energy of Ya salen los segadores. Flexible and direct, they are well suited for theatrical programs and concerts connected to Spanish literature.
Instrumentation: female voice a cappella or with guitar; men’s chorus and guitar
Difficulty: Easy to intermediate
Publisher: Alymar Publications / Les Productions d’OZ
Songs: Ovejita; Ya salen los segadores -
A tonal work for guitar duo, Edgefield begins with lyrical material loosely based on the hymn tune of the same name before moving into a more dramatic, chromatic middle section. Its clear ternary design and intimate contrapuntal interplay make it well suited for guitar duo recitals.
Instrumentation: two guitars
Duration: 8 minutes
Difficulty: Upper intermediate
Publisher: Les Productions D’OZ -
A brief, lyrical setting of Sara Teasdale, February Twilight captures a mood of romantic escape and quiet inward reflection. Its direct melodic language and approachable writing make it especially well suited for student recitals, art song programs, and performers seeking concise, expressive contemporary repertoire.
Instrumentation: voice, guitar
Duration: 1.5 minutes
Publisher: Columbia Music -
A 15-minute collection for solo guitar, Five Renaissance Pieces presents Renaissance material through elegant contemporary arrangement and variation. Balancing dance-like energy, lyricism, and idiomatic guitar writing, the set is well suited for recital programs, teaching repertoire, and early-music-inspired concerts.
Instrumentation: solo guitar
Duration: 15 minutes total
Difficulty: Intermediate
Publisher: Les Productions D’Oz -
A set of four songs for voice and guitar using words by Shakespeare, The Four Songs from Twelfth Night reflects the play’s wit, melancholy, love, and theatrical song. Flexible keys, folk-like immediacy, and lyrical clarity make the set well suited for vocal recitals and Shakespeare-themed programs.
Instrumentation: voice, guitar
Duration: 8 minutes
Publisher: Les Productions D’Oz
Text / Source: words by William Shakespeare, from Twelfth Night
Songs: O Mistress Mine; Come Away, Come Away Death; I Am Gone Sir; When That I Was and a Little Tiny Boy -
A nine-song cycle in three mini-volumes, From the Heart: Three American Women sets poetry by Sara Teasdale, Susan Laura Lugo, and Willa Cather. The cycle may be performed complete or by volume, offering varied expressive worlds for American art song and voice-guitar recitals.
Instrumentation: voice, guitar
Duration: 17–20 minutes
Difficulty: varies by song
Publisher: Columbia Music
Text / Source: poems by Sara Teasdale, Susan Laura Lugo, and Willa Cather -
A tender song of remembrance setting words by Susan Laura Lugo, Gone With the Wind reflects on grief, memory, and enduring love after the loss of a daughter. Its recurring refrain and intimate voice-and-guitar scoring give the work a quiet emotional continuity well suited to reflective recital programs.
Instrumentation: voice, guitar
Duration: 3 minutes
Publisher: Columbia Music -
A tender art song for voice and guitar, Grandmother, Think Not I Forget offers a warm and intimate reflection on memory, love, and loss. Freely adapted from Willa Cather, the song is well suited for vocal recitals, memorial programs, and poetry-centered concerts.
Instrumentation: voice, guitar
Duration: 3.5 minutes
Difficulty: Intermediate
Publisher: Les Productions D’OZ
Text / Source: words by Garth Baxter and Katherine Baxter, freely adapted from a poem by Willa Cather -
A tender love song setting a poem by Willa Cather, The Hawthorn Tree uses a modified strophic design to shape two verses with warmth and lyrical simplicity. Its intimate character and accessible writing make it well suited for student recitals and contemporary American art song programs.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
A folk-like theatrical chorus drawn from Baxter’s music for Federico García Lorca’s The House of Bernarda Alba, Here Come the Reapers combines men’s voices with simple, rhythmic guitar writing. Its direct character evokes the workers in the fields and the outside world beyond the play’s enclosed domestic setting.
Instrumentation: men’s chorus, guitar
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A brief comic song from The Four Songs from Twelfth Night, I Am Gone Sir sets Shakespeare’s text with wit, lightness, and theatrical directness. Its concise form and accessible voice-and-guitar writing make it well suited for student recitals, Shakespeare programs, and character-driven performance settings.
Instrumentation: voice, guitar
Duration: 1 minute
Publisher: Les Productions D'Oz -
A jazz-inflected setting of Sara Teasdale, The Inn of Earth combines lyrical writing with darker harmonic colors to reflect on suffering, hardship, and the world’s indifference. Its expressive tension and social consciousness make it a distinctive choice for contemporary art song and thematically focused recital programs.
Instrumentation: voice, guitar
Duration: 2 minutes
Publisher: Columbia Music -
A lively work for guitar quartet, A Jagged Path explores varied guitar timbres within Baxter’s lyrical and contemporary tonal language. Written for the Atlantic Guitar Quartet, the piece draws thematic material from Act I, Scene 3 of the opera Lily.
Instrumentation: four guitars
Duration: 7+ minutes
Dedication / Performer connection: written for the Atlantic Guitar Quartet
Source: themes from Lily, Act I, Scene 3 -
An energetic solo guitar arrangement from Five Renaissance Pieces, Kemp’s Jig brings an anonymous Renaissance dance to life with rhythmic vitality, clarity, and lightness. Its buoyant character makes it an effective contrast piece within the full set or as a lively standalone selection.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A simple, expressive chamber work for clarinet and guitar, La Nostalgie reimagines the Jewish folk songs Tumbalalyka and Dundai in a slower, reflective setting. Its intimate scoring and gentle melancholy make it well suited for chamber recitals and folk-inspired programs.
Instrumentation: clarinet, guitar
Alternate version: flute and guitar
Publisher: ALRY Publications -
A reflective setting of Willa Cather, L’envoi explores solitude through lyrical repetition and carefully balanced musical framing. Repeated poetic lines return with shared musical material, while the introduction and codetta create a poised structure that makes the song well suited for intimate recital and contemporary American art song programs.
Instrumentation: voice, guitar
Duration: 2.5 minutes
Publisher: Columbia Music -
A lyrical solo guitar arrangement and variation on music by Thomas Morley, Mistress Mine Well May You Fare brings Renaissance songfulness into an intimate instrumental setting. Its graceful melodic line and transparent texture make it especially effective in recitals highlighting the guitar’s vocal and lute-like qualities.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A graceful solo guitar arrangement and variation on music by John Dowland, Mistress Winter’s Jump preserves the rhythmic lift and elegance of Renaissance dance music while adapting it to the modern classical guitar. Its light character and compact design make it effective both within the full set and as a standalone recital piece.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
Garth Baxter’s arrangement of three dances from Moritz Moszkowski’s Spanish Dances, Op. 12 brings the music’s light melodic character and rhythmic clarity into an intimate flute-and-guitar setting. The set may be performed complete or excerpted individually for recital and teaching programs.
Instrumentation: flute, guitar
Duration: 9 minutes total
Difficulty: Intermediate to upper intermediate
Original composer: Moritz Moszkowski
Publisher: Mel Bay Publications -
A lighthearted, folk-like setting of Shakespeare from Twelfth Night, O Mistress Mine combines an upbeat vocal line with bright, accessible guitar writing. Its rhythmic lift and theatrical charm make it well suited for student recitals, Shakespeare programs, and voice-and-guitar performances.
Instrumentation: voice, guitar
Publisher: Les Productions D'Oz -
An elegant solo guitar arrangement and variation on an anonymous Renaissance source, Packington’s Pound combines rhythmic poise, clear melodic motion, and refined period character. As the opening work in Five Renaissance Pieces, it makes an effective recital opener for intermediate guitarists.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A lively solo guitar work in ternary form, Rusticola contrasts jazzy, energetic outer sections with a more lyrical and expressive middle section. Concise and engaging, it is well suited for guitar recitals and contemporary solo programs.
Instrumentation: solo guitar
Duration: 4.5 minutes
Difficulty: Moderately difficult
Publisher: Les Productions D’OZ -
A 10-minute fantasy for guitar ensemble, Shenandoah: A Fantasy places the folk song Shenandoah at the center of a clear arch form. Dedicated to Glenn Caluda and the Shenandoah Conservatory of Music, the work is well suited for university guitar programs and American folk-inspired concerts.
Instrumentation: guitar ensemble
Duration: 10 minutes
Difficulty: Intermediate; first guitar part is slightly more difficult
Publisher: Guitar Chamber Music Press -
A graceful chamber arrangement of Moritz Moszkowski’s Spanish Dance No. 2, this version for flute and guitar preserves the work’s Romantic lyricism and rhythmic elegance. The flute carries the singing melodic line while the guitar provides buoyant support and transparent harmonic color.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A graceful flute-and-guitar arrangement of Moritz Moszkowski’s Spanish Dance No. 4, this chamber version combines Romantic lyricism with lively Spanish-inflected rhythm. The flute and guitar share the work’s melodic lift, rhythmic vitality, and coloristic contrast in an intimate recital setting.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A lively flute-and-guitar arrangement of Moritz Moszkowski’s Spanish Dance No. 5, this chamber version brings the set to a bright and engaging close. Its melodic charm, rhythmic energy, and colorful scoring make it effective both as a finale and as a standalone recital selection.
Instrumentation: flute, guitar
Publisher: Mel Bay Publications -
A vivid narrative art song setting a poem by Willa Cather, Spanish Johnny follows a criminal figure from the old West through a through-composed design shaped by recurring vocal and guitar material. Spanish-inflected gestures and mandolin-like tremolo give the work distinctive color and dramatic character.
Instrumentation: voice, guitar
Duration: 3 minutes
Publisher: Columbia Music -
Garth Baxter’s arrangement of June: Barcarolle from Tchaikovsky’s The Seasons adapts the work’s graceful melody and gently rocking character for flute and guitar. This concise Romantic transcription is well suited for recital programs and flute-guitar duos seeking lyrical, audience-friendly repertoire.
Instrumentation: flute and guitar
Duration: 4 minutes
Difficulty: Intermediate
Original composer: Pyotr Ilyich Tchaikovsky
Publisher: ALRY Publications / UMMP, FG14 -
A set of a cappella songs based on Renaissance poetry, Three Madrigals combines lyrical directness, text-centered elegance, and contemporary harmonic color. Commissioned by Western Maryland College, the set is well suited for chamber choirs, collegiate ensembles, and vocal groups exploring early English poetry.
Instrumentation: a cappella voices
Duration: 8 minutes
Publisher: North Star Music
Text / Source: anonymous Renaissance poems; The Silver Swan by Christopher Hatton
Songs:There is a Lady Sweet and Kind; The Silver Swan; Love Me Not for Comely Grace -
An expressive guitar ensemble work, To Aegir brings together atonal, tonal, and bitonal writing within a compact dramatic form. Romantic and lyrical in character, the piece is well suited for college guitar ensembles and contemporary programs exploring modern harmonic color with clear emotional direction.
Instrumentation: guitar ensemble
Duration: 5–6 minutes
Difficulty: Intermediate
Publisher: Les Productions D’OZ -
A freely arranged medley for flute and guitar, A Touch O’Carolan draws on four tunes by the Irish harpist Turlough O’Carolan. Baxter adds harmony, counterpoint, and ornamentation while preserving the folk character of the melodies in a polished, recital-friendly form.
Instrumentation: flute and guitar
Duration: 6 minutes
Difficulty: Intermediate
Publisher: ALRY Publications / UMMP Music, FG12
Source: four tunes by Turlough O’Carolan -
A reflective pair of art songs, Two Songs of Reflection sets texts by William Blake and Chaim Stern. Moving from lullaby and sacred imagery to grief, memory, and bereavement, the set offers flexible scoring for voice with either guitar or piano.
Instrumentation: voice and guitar, or voice and piano
Duration: 6 minutes
Publisher: Les Productions D’OZ for voice and guitar; Doberman-Yppan for voice and piano
Text / Source: poems by William Blake and Chaim Stern
Songs:A Cradle Song; What Death Can Touch -
A romantic five-minute work for flute and guitar, Une Belle Fleur highlights Baxter’s lyrical writing and warm contemporary tonal language. Commissioned by the Friedman-Wysong Duo, the piece treats both instruments as equal partners in a graceful, intimate chamber dialogue.
Instrumentation: flute and guitar
Duration: 5 minutes
Difficulty: Upper intermediate
Publisher: Les Productions d’OZ, DZ 3687 -
A graceful trio for flute, clarinet, and guitar, When Lights Begin to Show was written to celebrate the marriage of Amit and Rajni. Its lyrical wind writing, intimate guitar resonance, and warm contemporary tonal language make it well suited for mixed chamber recitals and special occasions.
Instrumentation: flute, clarinet, guitar
Duration: 5 minutes
Publisher: Les Productions d’OZ, DZ 3037 -
The closing work from Five Renaissance Pieces, When That I Was and a Little Tiny Boy blends anonymous Renaissance material with Baxter’s own musical contribution. Its songful character and reflective tone create a graceful bridge between early-music tradition and contemporary guitar writing.
Instrumentation: solo guitar
Publisher: Les Productions D’Oz -
A brief lyrical art song setting a poem by Sara Teasdale, Your Face Is Beautiful offers a direct and tender expression of love. Its concise ABA′ form, warm melodic writing, and lower-intermediate difficulty make it well suited for recitals, student programs, and American art song concerts.
Instrumentation: voice, piano
Duration: 2 minutes
Difficulty: Lower intermediate
Publisher: Alymar
Text / Source: poem by Sara Teasdale