| Opus 76 | Five Dunedin Songs (1996) |
| for tenor and guitar | |
| Intimate and expressive settings of poems by Lonie and Hall. Simple in textures but demanding in performance, and ranging in mood from the capricious 'Stone Woman' to the desolate 'Collection Day'. | |
| Available from the composer |
| Opus 79 | Guitar Concerto (1997) |
| for guitar and orchestra | |
| Unlike most guitar concertos this one is scored for full orchestra and is large in scale. Requiring amplification, the solo part nevertheless holds it's own against the orchestra. Likewise, the orchestra gets a decent play in a work of sparkling colour and ideas. | |
| Available from the composer |
| Opus 51b | Melancholia (1991) |
| for guitar | |
| A short and easy piece for guitar, sad and intimate in mood. | |
| published by Pro Arte Publications |
| Opus 139 | Nocturne and Sunrise (2008) |
| for flute, viola and guitar | |
| A colourful work in three sections and describes the progression from night through to early morning. | |
| Available from the composer |
| Opus 51a | Pas de Deux (1992) |
| for two guitars | |
| This is a substantial work in five sections which explores the many different textures and colours available from the combination of two guitars. | |
| Available from the composer |
| Opus 32 | Rhapsody for Guitar (1988) |
| for guitar | |
| The two movements in this work have a folky character while being essentially abstract. The first is called 'Slow Bulgarian Dance' and explores irregular metres, while the second is called 'Skittish Dance'. | |
| published by Wai-te-ata Press, 1991 |
| Opus 118 | Three Pieces for Viola and Guitar (2005) |
| for female voices, horn and piano | |
| Three lyrical pieces with a relatively simple guitar part. | |
| Available from the composer |