Chamber music is a burgeoning part of the modern guitarist’s repertoire, and few instruments compliment the guitar as well as the viola. Through production of an album of music for viola and guitar, this repertoire is showcased. While the duo works together very well, there is still not too much repertoire written for it. By examining each of the recorded works and discussing their successful compositional ideas, as well as some flaws and solutions to those issues, a groundwork for writing for viola and guitar can be laid. Also included is a discussion of general ensemble considerations, a new original composition for the duo, and information regarding recording set-up. The pieces recorded and discussed are Echoes of Autumn by Stephen Dodgson, 5 Fachadas by Javier Farías, One Stops Searching, One Grows Silent by Klaus Hinrich Stahmer, Folklore III by Gilbert Biberian, Sonate by Érik Marchelie, and 2 Pieces After Danielewski by Bill White.

This is a recording of a new piece for Double bass and Guzheng performer Qingfeng Li, who is internationally renowned. The composer composed this audacious and unique chamber work for double bass and traditional Chinese Guzheng zither in November 2021, dedicating it to me and Guzheng virtuoso Prof. Qingfeng Li. The objective of this project is to create a work for the classic Chinese instrument Guzheng that incorporates elements of Chinese folk music. This chamber music will be a duet for double bass and guzheng, with the guzheng's distinctive style and sonic effects blended into the double bass. The project will contain a recording of this new piece, as well as a written research document outlining the work's structure, the composer's collaboration process with me as a performer, and brief analysis of the work. Additionally, the author recorded this piece in a professional audio and video recording made in China, with Guzheng player Qingfeng Li.This is the first combination of a traditional Chinese instrument, the guzheng, and a Western instrument, the double bass. This unusual melodic combination conveys the essence of traditional musical practices unique to the Chinese folk of Jiangnan. To investigate the connections between the pentatonic scale and traditional musical practices, I have studied Jiangnan music manuscripts compiled by ethnomusicologists. To better complement the traditional instrument of the guzheng in the piece, I studied the history of the guzheng and how to use techniques to express emotion in the piece. These connections are discussed in depth in the chapter on structure form, including how to break out of familiar compositional combinations and how to use the unique acoustics and techniques of the double bass to embody the Chinese folk pentatonic scale. I also discuss the process of working with the composer, the rehearsal process, and the incorporation of necessary modifications in this document to make the music effective and idiomatic for the double bass. This new work at the intermedi

ABSTRACT
This project includes a research paper, a professional recording, and a musical score. Mauricio Annuziata, a well-known Argentine composer, dedicated his Concerto No. 5 to me, Nathaniel De La Cruz, and it is inspired by Andean Folklore music from South America. He composed this concerto in December of 2020, and it has original themes closely related to Andean music. The author recorded this concerto in a professional audio and video recording made in Katzin concert hall in the ASU music building on September 30, 2021, with my wife Rosa LoGiudice De La Cruz on the piano.
This concerto was conceptualized as one large movement divided into three smaller movements. An unusual combination of melodies conveys the nature of traditional musical practices characteristic of South America. This is the first concerto for double bass inspired by Andean folk music. In researching for this document, I studied manuscripts of Andean folk music compiled by ethnomusicologists to explore the connection between the pentatonic scale and traditional musical practices. These connections are discussed in detail in a chapter of the form of the concerto, including representations of traditional folkloric dances from different countries of South America. In this document I also discuss the process of working with the composer, rehearsing, and incorporating the necessary revisions to make the music effective and idiomatic for the double bass. This new work will offer the double bass world a new perspective for solo repertoire, as it is accessible for intermediate (check this) and professional levels. The process of collaborating with a composer of such caliber as Mauricio Annunziata is a rewarding experience for me not only as a student, but as a performer where I found different challenges to explore new music practices and techniques.