By clicking one of the links above, you can find out more about the compositions, both in terms of how they came into being, as well as performance and technical advice.

The 6 duets can be purchased from the Home page for £8.



This is really the etude which grew up and became a duet. The opening of the second part was something I'd been playing with for a few months. I wasn't quite sure where it would go, or what it was doing. Then I wrote Salzburg, and the idea of duets came about, and it seemed logical to take this idea and hope it would be a round peg headed for a round hole. In keeping with its early days, I've left the opening as a solo. This also establishes that part in the listener's ear, so that when the tune comes in, the accompaniment is firmly locked into our memory. One of the fun things I've discovered about duets is those moments where it's ambiguous as to who is taking the lead, and who is following.

This is quite an exposed part for the second player, and it may well be that the more confident player takes the accompaniment. The lead is probably a bit less demanding. When playing the second part, the trick is to get the notes to sound for as long as possible. Some of the chords and shifts are much easier when the preceding notes are cut off, but this destroys some of the tunefulness. If that's what you need to do, because that's where your fingers are at right now, that's fine, but try to build toward holding the notes.