| Ballade-Fantasy, Opus 8. [P-19] | |
| A nostalgic and capricious romantic fantasy of medium length and difficulty. | |
| Cadenza to the First movement of the Piano Concerto in D major Hob. XVIII:11 by F. J. Haydn [P-22] | |
| The cadenza attributed to Haydn for this movement does not have a thematic connection with the movement itself. This original short cadenza remedies that situation. | |
| Cadenza to the First movement of the Piano Concerto no. 1 by L. Van Beethoven [P-18] | |
| This more concise cadenza combines Beethoven's three cadenzas into one for those who find Beethoven's third cadenza too long. | |
| Cadenza to the First movement of the Piano Concerto no. 21 K. 467 by W. A. Mozart [P-20] | |
| No cadenza by Mozart exists for this well-known work. This cadenza is in the style and manner of the great composer. | |
| Canon by J. Pachelbel. Piano Transcription [P-12] | |
| This version is thoroughly pianistic yet adheres quite faithfully to the style of the original. | |
| Concert Study after F. Chopin Etude Opus 10 no. 2 [P-26] | |
| This short, brilliant concert piece is in the tradition of the Godowsky 53 Studies on the Chopin Etudes, taking piano technique to its outer limits. | |
| Meditation, Opus 1 [P-1] | |
| In the style of a Song Without Words. | |
| Pavane from Suite Francaise [P-3] | |
| This Pavane from the Suite Francaise recast as a piano solo makes a great introduction to the French works like the Ravel Pavane. | |
| Poetic Waltzes, Opus 7 [P-14] | |
| This medium length concert work grows to an emotional climax and then subsides. | |
| Prelude:Variations on a Drawing [P-24] | |
| This unique short prelude in ballade style is based on melodic shape produced by Graphonics, a line drawing technique developed by John Furlow for schools and hospitals. | |
| Variations and Finale, Opus 3 [P-7] | |
| A chordal theme, four variations in different keys followed by an exciting finale based on the theme. | |