Completed guitar #017: Hamilton

It seems like a while since I actually wrote an update post on what I have been doing in my workshop. The last time I updated you on the current guitar’s progress was at the beginning of May when I talked about the rosette inlays for the two in-progress guitars. Since then, I have focussed on finishing the guitar for the Hamilton festival as I had a hard deadline for completing that guitar. I will be getting back to the lunar phase cedar and rosewood guitar very soon, so you will see more on that guitar in July. The Hamilton guitar is now complete, so it is time for a summary blog post!


Although I did not take many pictures during the building of this guitar (I broke my camera lens halfway through and had to purchase a replacement), I did manage to get a couple shots of the bracing, which is a bit different than in my past guitars. I based this pattern on a Bouchet guitar plan that is available from Luthier’s Mercantile. This is a fan braced guitar with a harmonic bar directly under the saddle. Although I did not copy the plan exactly, I did take inspiration from the graded brace sizing on the plans, which had heavier bracing on the treble side and thinner, lighter braces on the bass. I also used Bouchet’s open harmonic bar right below the soundhole which allows two of the fan braces to pass under the brace and end close to the soundhole.

In the next photo, you can see the asymmetrically tapered brace located underneath the saddle of the guitar. The tapering is supposed to help to balance the tone of the basses and trebles, and while I can’t say whether this is the reason, it is a good sounding guitar with pretty nice basses and trebles with a decent sustain.

Stages of Completion

I have had the strings on and off of this guitar several times in the last few weeks. The first time this guitar was played was at the end of May when a few friends came over to try the guitar out. The guitar was playable but unfinished – I had rushed to get the frets in and the strings on for the occasion, and had only had enough time to wipe a bit of shellac on the soundboard. I was immediately impressed with the unique sound of this guitar – it seemed to have a certain clarity of tone and a beautiful sustain almost from the first sound it made.

After that first test, I took the guitar back to my workshop to fiddle with things and apply some finish before stringing again for a couple of recording sessions for my upcoming CD. As soon as I had completed those recordings, the strings came off again for a bit more varnish and a couple sessions of polishing.

Design features

Overall, I am quite happy with how this guitar turned out. The woods are beautiful and work quite well together – the warmth of the rosewood complements the pink tones in the spalted maple. I used a bit of red veneer here and there to accent the pink as well, but kept the overall design simple with clean lines and mostly uncomplicated inlays. The talking point is of course the rosewood rosette, which turned out even better than I had hoped when I first dreamt it up.

Of course, people don’t immediately recognize it as Hamilton’s skyline (I am not sure that anyone would really recognize Hamilton’s skyline at a glance), but it is clearly a city scape when viewed from up close. From afar people have wondered if it was eye-lashes or a paint splatter on different occasions, and I’m not entirely sure what to make of that, but regardless of what people think it looks like, the rosette’s reception has been largely very positive.

I continued the use of rosewood for the bridge and the fingerboard on this guitar, preferring the softer brown of rosewood to the striking black of ebony for this design. Rosewood is also lighter, and from what I have heard, lighter bridges are generally a good thing in guitar construction.

The bridge is a bit unique in that I used a piece of flamed maple to cap the central section, and edged the tie block with red veneer lines and ebony for a bit of protection against string wear.

Along with the rosewood, I used a decent amount of quilted maple in the design of this guitar. The back of the headstock features a stunning veneer of quilted maple, as does the heel cap.

I also used quilted maple for the binding of this guitar, separating it from the light coloured body body woods with dark brown veneer lines to match the rosette.

And that’s it really. It is a comfortable guitar to play, with a standard scale length of 650mm and a slightly small (to modern standards) body. Although I was originally planning to French polish this guitar, I ended up deciding to use EnduroVar water-based varnish just because I am more comfortable with this product and I was pressed for time. The results are pretty good (if I do say so myself).

As I mentioned earlier in this post, I did manage to get a couple of recordings done with this guitar. However, I won’t be releasing those until my CD is complete in about a year, so I thought that I would do a quick home recording of a different piece to hold your interest in the meantime. Here is a little tune by Madame Sidney Pratten (don’t mind my serious expression – I’m still working on my stage face)

As always, thanks for reading and following along with this blog – your comments and interest really mean a lot to me!


Thoughts on playing music by “female composers”

After having written four list-style posts on female classical guitar composers, I realized that I had missed answering a rather important question: Why? Why write a list of female composers? or perhaps Why is it important to play music by these female composers?

As a female guitarist, I find myself in a bit of a “catch-22,” so to speak. On one hand, because I am a woman, I feel that I should (and I want to) play music written by female composers. On the other hand, I know that if I program music by female composers, it will immediately be noticed that I am playing music by women. The act of including music by women is automatically seen as “feminist,” and there is an unfortunate assumption that I (as a woman) would not be playing the music if it were not composed by a woman. The trouble is, I also know that the majority of male classical guitarists will not seek out this music as it has not yet made its way into the mainstream of classical repertoire.

As you can see, because I am a woman, playing these pieces presents a bit of a challenge. While I would like to present the works simply as fantastic works of music, it is hard to present them without the over-bearing shroud of feminism. It is the same problem that Canadian music faces according to some critics. By identifying works as “Canadian” we are almost crying out to the public that we would not perform the works if they were not composed by a local. By labelling the piece, we are sending the message that piece is not good enough to stand on its own merit as a composition. By identifying compositions as “composed by a woman” it could seem that I am presenting the piece only because it is composed by what is said to be the fairer or weaker sex.

In the beginning of any movement, however, it is important to identify the music. As I have mentioned in previous posts, Annette Kruisbrink did this with her book and CD collection Guitar Music By Women Composers, which includes works by herself, as well as other female composers from the Baroque era to the 20th century, many of them surprising and unknown. Connie Sheu released an album of all female composers in 2012 called The Woman’s Voice. In the process of researching for this blog series, I came across another CD of female composers, Composition Feminine: Guitar Music by Women Composers, recorded by Chris Bilobram in 2006.

I hope that soon we will be able to present the works by these  so called “female composers” as simply works by composers. It will take a while, but I do hope that the works of Emilia Giuliani-Gugliemi, Ida Presti, and others make it into the core curriculum for classical guitarists at all stages of development.

Of course, some may argue that this is not really something worth fighting over. I myself am not entirely convinced. Perhaps the percentage of music by female composers represented in the mainstream guitar repertoire is proportionate to the number of women who play and write for the instrument.

However, I do believe that at least part of this argument is really important. I think that it is important to encourage young women to pursue things, like the classical guitar, that are still incredibly imbalanced in gender representation. I still cannot put my finger on what it is that turns young women away from the guitar, but I do believe that building strong female role models could be a very powerful way to change the perception of the guitar world. If the guitar community is seen as gender-balanced, perhaps young women would feel more comfortable in pursuing the instrument as a career or hobby. Pushing for music by female composers to become part of the mainstream guitar repertory is one easy way to contribute to this shift.

I would love to hear your thoughts on this topic. Please leave me a comment below or on Facebook. Also, Happy International Women’s Day (March 8th)!

Female classical guitar composers part 4

One-off Compositions and Non-Guitarist Composers

As I pointed out in the last part of this list, most guitar music is composed by guitarists. I believe that there are two main reasons for this:

Firstly, the guitar community is rather small, so writing for classical guitar is not really the smartest way for composers to reach a large audience. If the goal is to have one’s music played and therefore heard, it is much more efficient to write for the piano, violin, or orchestra.

Secondly, the guitar is incredibly difficult to write for. In order to write idiomatically for the instrument, a fluent knowledge of the fretboard is required. Many university composition professors actually discourage students from writing for the guitar unless the student is a guitarist him/herself.

Although this imbalance is never going to change (and arguably shouldn’t change), it is important that we encourage non-guitarists to write for the instrument. Non-guitarists bring a different perspective to the instrument and challenge the repertoire norms that we are used to as players.

Because of the challenges that the guitar presents to composers, it is helpful for non-guitarists to work with a guitarists during the composition process in order to become familiar with the instrument and its idiosyncrasies. I think that it is important for us guitarists to make ourselves available to composers who are interested in writing for our instrument. There are a few programs that encourage this collaboration. One of the coolest programs is the Class Axe Guitar Workshop, which is a collaboration between the Canadian Music Centre and the Guitar Society of Toronto and coordinated by Toronto-based guitarist Rob MacDonald. The Ottawa Guitar Society has recently started a composition competition for young composers and is encouraging both guitarists and non-guitarists to write for the instrument.

The Composers

In the first part of this series, I mentioned Anne Lauber, who has written a fantastic solo piece for guitar, Arabseque, as well as a concerto, Espania. Today I am going to continue with a list of more gems in the repertoire that are written by non-guitarist composers.

Of course, I would be amiss if I did not include Joan Tower’s Clocks. Joan Tower is in the top echelon of important American composers, so it is wonderful that she has composed a piece for classical guitar. Clocks (1985) was commissioned by guitarist Sharon Isbin, and is recorded on her album Nightshade Rounds. The piece is an “exploration of time” and unfolds in a truly magnificent form.

Looking back at an older generation of musicians, I have to include the composer Germaine Tailleferre (1892-1983), the only woman in Les Six, a group of French composers. I believe that each of the six composers in the group wrote a piece for guitar. Germaine Tailleferre’s contribution was a beautiful short piece simply titled “Guitare.” The music is available here from, and you can listen to the piece on YouTube.

The respected British composer, Sally Beamish, has also written a single piece for the guitar. Her piece, Madrigal, is published by Cadenza Music and is available through Strings By MailMadrigal was written for guitarist Peter Argondizza in 1993 or 1999 (depending on the website), and is comprised of variations based on lo pur respiro by Carol Gesualdo. Although I could not find a recording of the piece on YouTube, there is a decent preview of the score on Cadenza Music’s website.

Thea Musgrave is yet another composer who has written a single work for the guitar, however her piece is a little bit different. Soliloquy is a piece for guitar and tape and was composed in 1969 for Siegfried Behrend. You can listen to the piece on YouTube here. The tape and guitar parts are very closely integrated, and at times the piece sounds as if it were a guitar duet because of the timbres used on the tape.

Barbara Kolb has worked in close collaboration with guitarist David Starobin (a true champion of new music for the guitar), and has written a couple pieces for the guitar. There are the Three Lullabies (1980), which were written for the birth of David Starobin’s son. These pieces are recorded on David Starobin’s album collection New Music with Guitar. The Lullabies are haunting and explore the iridescent colours of the guitar with an abundant use of space and plenty of harmonics. I picked up the music for these lullabies while in Germany a couple years ago, and I am finally starting to learn them. Unlike most music written by guitarists, these pieces are not entirely intuitive and require a lot of fingering work. Like Thea Musgrave, Barbara Kolb also composed a piece for guitar and tape. You can listen to Looking for Claudio  (1975), as played by David Starobin here.

Melinda Wagner is another composer who has worked with David Starobin, the guitarist who commissioned her piece Arabesque (2000). Here is Jorge Caballero performing the difficult 4 minute piece. The music is available through, and was recorded by David Starobin on his 6th volume of New Music with Guitar.

Although she has not composed a solo piece for guitar, the American composer, Elizabeth R. Austin, wrote one chamber piece for guitar and piano. A Falcon Fantasy was written in 2004 and was recorded by Chris Bilobram and Reinhard Wolschina on the CD Composition Féminine.

Russian composer, Sofia Gubaidulina, has written a few pieces that involve the guitar. Her solo guitar work, Serenade, written in 1980, is probably one of the most played of the pieces that I am talking about today. Connie Sheu recorded Serenade for YouTube here. Gubaidulina has also written a few intriguing pieces for guitar ensembles of 2-4 guitars with solo bowed string instruments, including Ravvedimento, a piece for guitar quartet and cello.

French Composer, Thérèse Brenet, has composed several pieces involving guitar, including a significant solo work (Née du rire de l’éclair), and several chamber pieces for guitar duo, guitar and voice, and other combinations. Née du rire de l’éclair was written for Marie-Thérèse Ghirardi, and was later reworked as a chamber piece for mandolin, guitar, and Celtic harp. The latter version can be listened to here.

English composer, Elisabeth Lutyens (1906-1983), was heavily influenced by the twelve tone music of Arnold Schoeberg, and is credited with bringing the 12-tone style to England. She wrote two pieces for the guitar. One is a piece for 10 guitars, speaker, and percussion (Anerca, Op. 77, 1970), and the other is a piece for solo guitar (The Dying of the Sun, Op. 73, 1969). I cannot find a recording of the solo piece, although it has been performed and was premiered at Wigmore hall in 1969 by Gilbert Biberian. There is a performance of Anerca on YouTube, which was recorded in 1983.

Augusta Read Thomas is an American composer, and has written one piece for guitar duet. Memory: Swells was composed in 2005 for the Newman and Oltman guitar duo. The piece uses altered tunings in both of the guitar parts (guitar 1: GACGBE, guitar 2: GAC#GBF), and uses a form that is reminiscent of the shape of a wave. There is a sample of this piece on her website, as well as links to the CD on which it is recorded. A sample of the music, as well as information on where to get the full score is available through SchirmerOnDemand.

Finally, I will mention Matilde Salvador (1918-2007), the Spanish composer and painter. Salvador wrote many pieces for guitar and voice as well as one popular and very beautiful solo guitar piece, Homenatge e MinstralHere is a recording of the first movement, Preludi. The entire piece was recorded on the Naxos CD Guitar Recital – Dejan Ivanovic. (If you are Ottawa-based and have a library card, the Ottawa Library has a subscription to the Naxos digital library, so you are able to listen to this CD for free! Many other Canadian libraries and universities have similar arrangements)

As always, thank you for reading through this blog post! Please let me know if I have missed anyone in this four-part list of female guitar composers. If I miss enough people, I will write a follow-up post in a few weeks to complete the list.

Female classical guitar composers part 3

Today, for the third instalment of this blog series on female guitar composers, I have decided to talk about women who are both performers and composers. I am aware that I have already listed several who fit into this category in previous posts: Madame Sidney Pratten, Emilia Giuliani-Guglielmi, Ida Presti, Olga Amelkina-Vera, Nadia Borislova, Nelly Decamp, Veronique Gillet, Annette Kruisbrink, Fabienne Magnant, and Gloria Villanueva.

The majority of guitar repertoire seems to have been composed by guitarists. All of the “big names” in the guitar’s history, especially in the 19th century, were guitarists, or at least played the guitar: Sor, Aguado, Coste, Legnani, Giuliani, Regondi, Tarrega, Barrios, Takemitsu, Brindle, Brouwer, Rak, Dyens, Bogdanovic, etcetera. Although a few non guitarists have gifted significant contributions to the guitar’s repertoire (Britten, Walton, Rodrigo, and Tippett, to name a few), none of these composers have been quite as prolific in their output as the guitarist-composers. I will talk more about the differences between guitarist composers and composers who do not play the guitar in the fourth part of this series.

Maria Luisa Anido

Maria Luisa Anido (1907-1996) was a classical guitarist from Argentina. As far as I can see, her complete compositions were recorded by Maria Isabel Siewers on her CD, A Mimita  (Mimita being Maria Luisa Anido’s nickname). Here is a video of Maria Luisa Anido performing her composition Aire Norteño  in Moscow.

I had a hard time finding a reliable English source for information on Anido’s life, but I did come across a 2015 Facebook post from guitarist Candice Mowbray, which includes a short biography of this “Lady of the Guitar.” And, of course, there is always Wikipedia, which supplied me with what I am hoping is a complete list of her compositions. The only publication of her work that I can find is in Annette Kruisbrink’s Guitar Music by Women Composers that I keep mentioning in these posts. Kruisbrink included Anido’s short piece Nana in this collection. Please let me know in the comments below if you come across any of her other compositions.

Eva Beneke

Eva Beneke is a German classical guitarist based in Minnesota where she teaches at the McNally Smith College of Music. I first met Eva at the Hamilton Guitar festival a few years ago. I had a great lesson with her on Giuliani’s Rossiniana No 1 that I was playing at the time. She has released one lovely solo guitar album, Coming Home, that features music by Bach, Domeniconi, and herself. One of the pieces on that album, “Stormy Crossing,” can by heard on her YouTube channel here. Her compositions, as well as a few other publications, can be purchased from her website here.

Liona Boyd

Liona Boyd, “The first lady of the classical guitar,” is perhaps the most well known female classical guitar performer. With her long and varied career, Liona Boyd managed to become more than just “guitar famous” by winning 5 Juno awards for Instrumental Artist of the Year, as well as several other awards. Her compositions and arrangements are for sale through her website here. Several of these pieces are copies of her own handwriting.

Lynn Harting-Ware

Lynn Harting-Ware is a Canadian composer and guitarist. Her biography can be found on the website for the music school that she runs with her partner Peter Ware in Markham, Ontario. She has recorded her pieces, mixed with other contemporary and older works on her 5 CDs (Angelica (1997), Americas (2000), Forest Scenes (1995), Impossible Dream (1995), and Many Moods of the Guitar (1997)). I believe that the CDs and the sheet music for her pieces (“Fantasy-Ricercare and Dance” and “Reverie and March”) can be ordered through Acoma-Nambe Editions. Some excerpts of her playing can also be found on this website, although I was unable to source any complete or partial recording of her compositions online. As I mentioned before, she has recorded her compositions on various CDs, and these are available through

Dale Kavanagh

Dale Kavanagh is a Canadian guitarist, composer, and professor who lives and works in Germany. Dale has included her own compositions on two of her four solo albums as well as two of the ten albums that she has released with her partner, Thomas Kirchhoff, as the Amadeus Duo. All of these CDs, with links of where to find them and samples of the recordings, can be found here. Her compositions are published with Chanterelle and Hubertus Nogatz.

Dale Kavanagh’s compositions are easily accessible and explore the rich sonorities of the guitar. Her pieces seem to be very much in tune with her style as a performer, as she seems to revel in powerful playing, sweeping gestures, and improvisatory forms (i.e., Domeniconi’s Koyumbaba). Here is a recording of Dale Kavanagh playing her own piece, “Briny Ocean.” I have the sheet music for this sitting in my collection waiting to be played at some point.

Irina Kircher

German guitarist Irina Kircher is one half of  duo Montes-Kircher. I stumbled across one of her pieces, “Twilight,” while at the Nürtingen guitar festival. At the time, I did not know who she was. The week following, I was very impressed when I saw the duo in concert at the Iserlohn guitar festival, and watched Irina teach several masterclasses. “Twilight” is based on the teen novel saga by the same name and is published by Chanterelle. Here is a video of Irina performing the first movement of her composition.

Maria Linnemann

Maria Linnemann is a Dutch-born composer and guitarist who grew up in England and now resides in Germany. Ms. Linnemann has composed over 500 pieces for the guitar and piano. She has released three albums of her compositions, samples of which are available on her website (one recent CD is available on iTunes). Her compositions are published and available through Haus der Musik Trekel, Ricordi, and Burger & Müller.

Here is a short, beautiful example of her music, the “Canzonè D’Amore” from Suite for Lovers). She has a well stocked YouTube channel with plenty of examples of her work.

Luise Walker

Luise Walker (1910-1998) was an Austrian classical guitarist. Like Maria Luisa Anido, Luise Walker studied with guitarist Miguel Llobet. Here is a recording from 1953 of Luise Walker playing a concerto by Santorsola. A Vinyl record of her playing Schubert, Weber, and Haydn is available through, and various other recording seem to be available from

I came across a book of five easy pieces by Luise Walker. I also came across some of her music on the di-arezzo website here. Her most popular piece of music seems to be the beautiful “Kleine Romanze” – in fact, I had a hard time finding anything other than this piece on YouTube!

As always, thank you for making it through to the end of another blog post! I hope that you are enjoying this series of posts on female composers for the guitar. I am certainly enjoying the process as I get to discover all sorts of new music and new people in the process! I will be writing the fourth instalment of this list for next Thursday focusing on non-guitarist composers who may have only written one or two pieces for the guitar.

Female classical guitar composers part 2

For part 2 of this series on women and the classical guitar, I have decided to take a look through the composers published by Les Productions d’Oz. This is one of the largest guitar publishing houses, and it happens to be Canadian!

If anyone needed illustration of the ratio of men-women in the classical guitar world, one need only look at the list of artists on the publisher’s website (the list is not up to date, but gives a good starting point). Granted, not all of the artists are guitar composers (d’Oz also publishes music for orchestra, chamber ensembles, and other solo instruments), however, the majority of the music published by d’Oz is for guitar. Of the 12 women on the list, two have not published for guitar (Lorraine Desmarais and Linda Bouchard), so I will not include them in the list that follows.

Olga Amelkina-Vera

D’Oz Listings:

Olga Amelkina-Vera is a guitarist-composer with a DMA in guitar performance and a few composition prizes to her name. On top of her performance degrees, she is also currently finishing a master’s in composition. She has an active performing career, and is one half of a guitar duo known as KitharaDuo. She has 11 pieces published with D’Oz, all of which are for guitar (solo, duo, trio, quartet, and sextet). She has  also composed for other instruments, as can be seen on her website. Some of her compositions can be listened to on her guitar duo’s YouTube channel here. I would recommend taking a listen to The Heaven’s Hundred (written for, and performed by Matt Palmer), and the guitar duet Prelude and Bagatelle (performed by KitharaDuo).

Ginette Bellavance

Canadian Music Centre:
D’Oz Listings:

Ginette Bellavance is a Canadian composer who has written one piece for guitar, as far as I can tell. The piece is a Scherzo for guitar and orchestra. I cannot find a recording of the piece on YouTube, however, there is a short clip of the piece on the D’Oz website. If anyone knows anything about this piece or its premier, and if it was recorded, please let me know in the comments below!

Nadia Borislova

Biography and List of Works:
D’Oz Listings:

Nadia Borislova is a Russian guitarist and composer. She has 10 pieces published with D’Oz, all of which are for guitar. The publications are a mix of guitar methods, guitar solos, and chamber/ensemble pieces. She has used some interesting extended techniques in her compositions and performances (check out “The Dance of the Wind and the Shaman“). From the videos that I could find, she seems to be a very expressive performer. Her playing and compositions explore the full range of dynamics, colours, and effects that can be found on the guitar. Here is a video of her performing one of the solo pieces that is published with d’Oz, “Midnight Train.”

Nelly Decamp

D’Oz Listings:

Nelly Decamp is a French composer and guitarist who has three publications with d’Oz. Her “Portrait Video” will give you a good sense of her musical interests and her compositional style (also, there are some cool video shots from the inside of the guitar). Her music is not purely “classical,” and seems to be heavily influenced by jazz harmonies. Here is a video of Nelly Decamp playing her piece “Cancion en Ré.”

Veronique Gillet

D’Oz Listings:

Belgian composer, guitarist, and cellist, Veronique Gillet, also has three piece published with d’Oz, although she has a few other pieces on her YouTube channel. I could not find recordings of the pieces that are available on D’Oz, however, I did come across this rather beautiful piece, “Horses in the Puszta.” This is the first track on her solo guitar album, Raga y Danza, which is available on iTunes here. I can’t seem to find the sheet music for this – please let me know in the comments if you find it!

Annette Kruisbrink

D’Oz Listings:

Dutch guitarist and composer Annette Kruisbrink might be the most prolific female guitar composer that I have come across so far. She has 68 entries in the d’Oz catalogue, ranging from easy to advanced, and from guitar solo to mixed chamber music to mandolin to guitar ensemble and more. Her full list of compositions is available on her website here. She has an active YouTube channel with plenty of recordings of her music. Annette Kruisbrink also put together an anthology of music by female composers for d’Oz, as I mentioned in my last blog post.

Fabienne Magnant

D’Oz Listings:

Fabienne Magnant is a French guitarist and composer with interests in classical and Flamenco guitar and the Brazilian guitar type instrument, the viola caïpira. She has 6 solo works published with d’Oz. Her music is not purely “classical” in the most traditional sense, as she draws heavily from her studies of flamenco guitar and Brazilian music. A recording of one of the pieces available through d’Oz, “Iberique,” is available on her YouTube channel. She also has recordings of her playing the viola caïpira, such as this video of her piece “Temps Mort.”

Katia Makdissi-Warren

Canadian Music Centre:
D’Oz Listings:

Canadian composer Katia Makdissi-Warren has written two pieces for guitar, one of which is available through d’Oz. Recorded fragments of both of the pieces (“Deux airs de guitare” and “Ballade pour guitare”) are available on her website here.

Gloria Villanueva

D’Oz Listings:

Spanish composer, pianist and guitarist Gloria Villanueva has two pieces published with d’Oz, although her catalogue of works for the guitar is considerably larger. I came across this video of Julia Trintschuk playing Ms. Villanueva’s B-612, and was intrigued by the title. I would play this piece just for the concept behind the work. The piece was written as a tribute to the 60th anniversary of the publishing of The Little Prince. B-612 is the planet from which the Prince originates. More of her works (including B-612) are published with Editorials Works, La Mà de Guido. Here is a video of the composer herself playing a bluesy composition, “Guitar Constellation X,” from the collection of pieces Guitar Constellation, available through d’Oz.

Thank you for making your way through this post! I will have another list style post on female guitar composers next week. As always, please leave comments below – let me know if I have missed anyone from this list of d’Oz composers!