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Bed Tea Drifting Thoughts is dedicated to my wife, who loves to sip tea in bed, waking up slowly.

The piece is
punctuated by six string harmonic calls at the 12th, 5th and 7th frets. The music between each of these punctuations
is in a separate area of the guitar. With each repetition, these ideas are lengthened and the mood intensifies.

A feature of this work is the use of space and the held notes allow time to savour the decaying sound of the steel
strings. Some notes decay sooner and then the feel of a chord changes over time. The higher overtones on steel
strings are much more pronounced than on a nylon string classical guitar, adding a shimmer to the decay.

Aeolian Sunset uses single note tunes, which are then doubled at the octave. In classical guitar playing there is
much vertical movement across the fingerboard. A feature of Aeolian Sunset is the use of horizontal playing,
exploring the mode up and down on a single string.

Patrons of Light was written for the Astha guitar prototype, which was showcased in Toronto during the spring of
2015. I had the honour of inaugurating that instrument for the Toronto supporters. Astha is the Hindu word for
hope and the Swiss luthier Luke Brunner designed the guitar and trained local people in Bangalore to build to his
specifications. The workshop is a boon to the local economy and all profits from sales go to sending
underprivileged children to school.

This piece was written while I had the Astha guitar for a couple days before the showcase. It develops using a
modified Travis picking style with the thumb playing on all the beats while the fingers float the top notes in a
syncopated way. I have used parallel motion figures for the top and bottom voices and from the first moments of
this pieces creation, dynamics followed the rising and falling of each phrase.

Echoes of Tuatha Danann was written for York University dancer/choreographer Terrill Maguire as part of a
longer project we created together entitled Godlines. Tuatha Danann was paired with another slower work in a
section devoted to Celtic Gods and sacred notions. There is no specific musical reference to Celtic music but the
faster parts resemble a jig.

The cadenza in the middle of the piece uses a hands separate technique, assigning an ostinato to the left hand
while the right hand plays simple arpeggios. Due to the quiet sound of the left hand ostinato, this is a pianissimo
cadenza.

William Beauvais
Toronto, ON
May 4, 2017
Bed Tea Drifting Thoughts
William Beauvais
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William Beauvais
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Patrons of Light
For best results capo at 4
William Bauvais
Statelyqd= 60

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2017
18 Patrons of Light

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20 Patrons of Light

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Patrons of Light 21

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22 Patrons of Light
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##

37


& .

f

.
37
7 5 5 4 4 5 5 5 5 4 4 2 2 4 4
0 0 0 0 0 0 0 0
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Patrons of Light 23

#
.
39

& #
R

.
39

.
4 2 2 0 0 2 2 0 0 0 0 0 0 0 0 0
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## .
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42

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##

44

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p F P
44
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24 Patrons of Light

#
& # n
46

46
2 0 0 2 2 0 0
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0 0 0 0 0 0 0 0
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5 5 5 5

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48

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48
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Patrons of Light 25

#
& # .
52



P F
52
0
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54
##
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54
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.

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56
0 2 2 4 4 0 0 2 2 4 4 5 5 5 5
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26 Patrons of Light

##

58


& .

f

.
58
7 5 5 4 4 5 5 5 5 4 4 2 2 4 4
0 0 0 0 0 0 0 0
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##
.
60

&

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60
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##

62

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62
0 0 0 0 0 0 0 0 0 0 0 0
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Echoes of Tuatha Danan
Adagio q = 40 freely with space William Beauvais
6


6 6

#
6

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## 6 .
Moderate jig feel qd = 60

12 .
5

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7
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7
0

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2017
28 Echoes of Tuatha Danan
9
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11
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13
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15
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Echoes of Tuatha Danan 29

# # . . . . j .
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17

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17
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25
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25
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30 Echoes of Tuatha Danan

## . . .
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27

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j j
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5

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30
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30
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34
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U
strum Echoes of Tuatha Danan 31
u

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u d u


d u d u d d


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36 d

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36
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41

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32 Echoes of Tuatha Danan
46
## j . . . j 98 n . . . . 12
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53
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Echoes of Tuatha Danan 33

#
& # 12

8 . . . . . . . .
56

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56
12 . . . .
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58
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58
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60
## . .
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60
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62
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f F

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62
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