Archive for the ‘General’ Category

Review – Spanish Candy in Take Effect

Listen to Spanish Candy

This 10th solo album from the esteemed guitarist and composer Aaron Larget-Caplan offers us Spanish and flamenco selections where he showcases his inimitable spin via the rich and mesmerizing playing.

The warm and cultured “Two Pieces”, by Isaac Albéniz, opens the listen with much charm and grace, and Esteban de Sanlúcar’s “Mantilla de Feria” follows with a more firm approach of meticulous and agile finger acrobatics.

The middle tracks belong to the swift and melodic gestures of Francisco Tárrega’s “Five Pieces”, while Albéniz’’s “Granada” finds a more intimate place to reside with its soothing and harmonic patterns.

The final track, “Espana Cani”, by Pascual Marquina” is just as intricate, where Larget-Caplan’s playful techniques touche on Spanish ideas with profound skill.

This is Larget-Caplan’s 4th time working with the multi-Grammy winner Kabir Sehgal, who helps illuminate these time honored Spanish pieces that again solidify Larget-Caplan as one of today’s most luminous guitarists.

Travels well with: Aaron Larget-CaplanHoney Cadence; Reza KhanImaginary Road

Spanish Candy • Tiger Turn, 2023


Visit Take Effect by clicking on the image.

2023 Year in Review – Adventure in Music

I am grateful for the many people who have made this year so special. At times I felt like 2023 was a normal year of music making and collaboration, and then I would be reminded that our recent past is very much with us and that the world is very fragile. 

I consider 2023 to be Adventure in Music year, and I think we have earned a bit of rest and a special cappuccino or affogato (see below) to commemorate the beauty that can exist in the world, if we so desire it.

Onward for a wonderful, safe, and healthy 2024, and thanks to all who have listened, enjoyed, and explored music with me in 2023!



  • Christopher Bush, clarinet
  • Johnathan McCullough, baritone
  • Frederic Jodry III, harpsichord
  • Robert Lehman, violin
  • Kimberly Lehman, viola
  • Rebecca Hartka, cello
  • Jeff Christmas, conductor with the Bowdoin Chamber Choir
  • Charles Coe, poet
  • Kabir Sehgal, Tiger Turn
  • Alex Fedorov, design
  • Steve Hunt, mixing and mastering
  • Gina Genova, Will Rowe, and Simon Henry Berry, American Composers Alliance
  • Gene Caprioglio, Edition Peters
  • Steve Schwartz, Your Heaven Audio
  • Michael Newman, Mannes School of Music
  • João Luiz, Hunter College
  • Tali Roth, Juilliard
  • Nick Morgan, TEDx


  • Alan Hovhaness – Mystic Flute, Op. 29arranged by ALC, Robbins Library, Arlington, MA, February 2023 (US premiere)
  • Daniel Felsenfeld – Only Winter Certainties on Bargemusic, Brooklyn, New York, April 2023 (info)
  • Sam Cave – …in the soft dark welling… at the Smith Center for the Arts, Providence College, September 2023
  • Nicolás Lell Benavides – Rinconcito for guitar & string trio, University of Southern Maine, December 2023 (info)

New Album & Recordings

  • Spanish Candy – May 26, 2023 on Tiger Turn (888-10) (info)
  • Berceuse Inquiète by Ronald Pearl, for the New Lullaby Project, live at Providence College (listen)

Album Reviews


  • honey cadence – a collection of six meditations by Aaron Larget-Caplan was published by the American Composers Alliance, May 2023 (info)

Publication Review:


  • Paul Revere Award for Graphic Excellence from The Music Publishers Association of the United States presented for Aaron’s arrangement of Bacchanale by John Cage, June 2023 (info)
  • Cultural Grant from the Massachusetts Cultural Council for Now Musique, Feb. 2023
  • Best of 2023 by The Arts Fuse: God’s Time: Music of J.S. Bach on Guitar, Dec. 2023 (info)
  • Reached 6-million streams!


  • Spanish Candy intro video (watch)
  • Remembering by Laurie Spiegel, written for the New Lullaby Project (watch)
  • Libertango by Astor Piazzolla, arranged for sextet (watch)
  • Interview with Anthony R. Green (watch
  • Interview with Daniel Felsenfeld (watch)
  • TEDx – moving still by Aaron Larget-Caplan (watch

Instructional Videos:




  • New press photos with photographer Paula Morin (info)
  • TEDx – moving still by Aaron Larget-Caplan (watch

Happy New Year – Favorites of 2022!

A list of random favorites from 2022!

Favorite Book: Confronting Silence by Toru Takemitsu (I read this almost every year)

Favorite Espresso: Sleeping Monk, Cannon Beach, Oregon & Kaha Coffee, Amesbury, Mass

Favorite Coffee Drink: Cortado

Favorite Cheese Shop: Formaggio Kitchen

Favorite Concert Halls: Tie: Little Bridges at Pomona College and Ruby G. Schulman Auditorium, Carlsbad

Favorite Croissants: Ma France, Lexington, MA • Lofty Coffee Company, Encinitas, CA

Favorite Tacos: Aria Korean Street Food, Larkin St, San Francisco, CA

Favorite Day: Tie: Birthday and Performing

Favorite Ornaments: Bach’s Little Prelude in C Minor, BWV 934, B sections SPOTIFY

Favorite Duos with Guitar: 3 Vintage Portraits by Antonio Celso Ribeiro for viola and guitar YOUTUBE

Favorite Guitar Strings: Hannabach, Trebles: Exclusive • Bass: 900 Silver 200

Favorite Headphones: Grado, Brooklyn, NY

Favorite Home Espresso Maker: La Pavoni, pictured 1984 Professional

Least Bad Airlines: Alaska, JetBlue, United: each allows guitars on board.

Favorite Fugue on Guitar: “Fiddle” Fugue in A Minor, BWV 539-1000 SPOTIFY

Favorite Day: Practice

Favorite Cut: Fermin Jamon Iberico Bellota

Favorite way to relax: Cathar Yoga

Favorite hand/fingers stretch: 90s

Favorite Coast: East to live, West to visit

Favorite Music Journal: Moleskine Art Music Notebook (out of print?)

Favorite Lesson: Each action and sound reverberates around the world, so let our actions be great and our sounds beautiful.

Favorite Music Discoveries (very limited): Ann Moss, Amanda Gookin, Miguel del Aguila, Andree-Ann Deschenes

Favorite Number: 3.3 million. Streams since November 2021

Favorite John Cage Discovery: Cheap Imitation arranged by Morton Feldman

Favorite video for viola and guitar by a Brazilian composer: Three Vintage Portraits of Exquisite Ladies Expressing Their Frame of Mind by Antonio Celso Ribeiro


2022 Year in Review


slight return

moments of normalcy

new artistic directions

Catching up

Dreams realized

musical Adventures

2022 By the Numbers (see below for expansion):

  • Premieres: 12
  • Concerts: 26 
  • Espresso: 730-750 (~2 per day)
  • Albums: 2 
  • Cassettes: 1 
  • Publications:
  • Collaborations: 8
  • Music with electronics: 2
  • Interviews & Podcasts: 8 
  • Grants: 2 
  • Grants Applied for:
  • Interviews conducted: 5
  • Residencies: 2
  • Classes: 12
  • Streams: 2.5 million
  • Amazing Street Tacos:
  • Pieces performed: 79

I know it’s arbitrary, but I would prefer our calendars marked the New Year in the spring, at least in to the Northern Hemisphere. That said, when I awoke on January 1, 2022 I did not know what to expect. 

My album ‘A Guitar Holiday’ was reaching people via streaming in ways I had never experienced (1-million streams to date!)

I was deep into composing what would become ‘honey cadence.’

A few concerts were on the calendar, but it did not feel like Covid had released us from its terrible grasp.

Coupled with the terror of Jan. 6, I knew I needed to focus on Art and appreciate each moment of living and creating.

I began the process of getting back to performing with classes and a concert at Framingham State University before embarking on my first tour since Covid: California!

APRIL TOUR: San Francisco State University –>Museum of Northern California Art, Chico–> Center For New Music, SF –> CSU Bakersfield –> Cal Poly Pomona –> Guitar Solo International (VIDEOS). SEE California Tour Pictures

While on the tour in California, I received news that I had been awarded a grant from the Boston Mayor’s Office for Arts & Culture to produce a series of 5 contemporary music concerts being held in my neighborhood between August and November under my series Now Musique.

Each concert brought composers to Dorchester for performances of their new lullabies and works for guitar + electronics. Read and see pictures HERE.

Upon returning to Boston, honey cadence, the first album dedicated to my own music was released. Mixed and mastered by the great Steve Hunt, I was not expecting much, as who knew if my music would touch people. Needless to say, I was happily surprised to go quickly through the first printing of CDs, and then see it was picked up on a few streaming playlists and it now has 1 million streams since its release in April!
It is my most popular album, which is a bit surreal. And no, my Mom does not do streaming.

My June concerts in Oregon began with an interview and performance on Thursdays @ Three with Christa Wessel for All Classical Portland before performing two solo programs in Portland for CDZ Musica and another at the wonderful Coaster Theatre Playhouse.

Seeing friends and walking on the beach felt like returning home. 

In June I recorded God’s Time: Music of J.S. Bach on Guitar, which was released in September. Featuring 16 of my own arrangements, it was recorded over 3 days and mixed and mastered by the wonderful Paul Averginos. The reviews have been stellar and I’m extremely proud of the album.

I set out to create a Bach album that was not like every other Bach Guitar album.

Mine would explore pieces not often played on the guitar, create new repertoire (a bit of a habit of mine), and bring a fresh voice to a couple of well known works, and I think I did that.

The responses to God’s Time have been overwhelmingly positive.

With over 300K streams since its release, I can’t wait to do another! Read and watch HERE.

One of the great difficulties of Covid was not being able to collaborate with wonderful musicians. Thankfully I had three performances with harpsichordist Frederick Jodry in Boston, Cape Cod, and Newport. Pianist John Thomas improvised over my own compositions in Provincetown – a first, and I joined Convergence Ensemble in November for three duos, two solos, and two quartets in an exhilarating concert titled Strings Galore. Libby Larsen’s Cajun Set was extra special!

I returned to Southern California in November for a series of classes and concerts. Being amongst friends and musicians for more than a day or two was inspiring extremely inspiring. I worked with students of guitarist-artist Peter Yates at UCLA, collaborated with Tom Flaherty and Buzz Gravelle at Pomona College, performed in La Jolla and Carlsbad, and ate amazing tacos!

Even while touring, I kept up with my students. In August we held our first student recital since Covid with players ranging in age of 14-62, and were gifted a wonderful Fernando Sor song with soprano Jessica Cooper.

At the end of November I kicked off my new blog series Music I Am, featuring brief interviews with inspiring and smart musicians and artists about their latest projects, inspirations, and habits. Check it out HERE.

Wishing all of you a happy and healthy year ahead. May 2023 be a year of wonderful music, exciting adventures, and Dreams Realized.



2022 Numbers Expanded

  • Premieres: 12 – Dennis Bathory-Kitsz, Antonio Celso Ribeiro, Dean Rosenthal, Thomas L. Read, Laurie Spiegel, Ian Wiese, Aaron Larget-Caplan
  • Concerts: 26 – California, Oregon, Massachusetts, which is still well below pre-covid concert numbers.
  • Espresso: 730-50 (~2 per day on average) – mainly cappuccino and Cortado
  • Albums: 2 – honey cadence and God’s Time: Music of J.S. Bach on Guitar
  • Cassettes: 1 – Etudes Volume 1 by Petridisch 
  • Publications: 3 – Bacchanale w/ Edition Peters and two Meet The Composer articles for the American Composers Alliance 
  • Collaborations: Frederick Jodry – harpsichord, John Thomas – piano; Convergence Ensemble: Heidi Braun-Hill – violin, Michelle LaCourse – viola, Hyun-Ji Kwon – cello
  • Music with electronics: 2 – Lainie Fefferman & Tom Flaherty
  • Interviews & PodcastsAll Classical Portland, Conducting Conversations Rhode IslandAll things Six Strings (2x), Just One Question, Guitaromanie, Fret Not
  • Grants: 3 – Mayor’s Office of Arts & Culture, multiple Local Cultural Council
  • Grants Applied for:
  • Interviews conducted: 5 – Music I Am blog series
  • Residencies: 2 Kirkland Community Artist Residency, Clinton, New York • Now Musique – Dorchester, Mass.
  • Classes: 12 – California, Massachusetts, New York, North Carolina, Rhode Island
  • Streams: 2.5 million – Amazon and Spotify
  • Teaching: In person and online with students from California, China, Georgia, Massachusetts, Oregon, and Texas.
  • Amazing Street Tacos: 2 – San Francisco Korean Tacos and Los Angeles street tacos
  • Pieces performed: 79 compositions by 34 living composers, including 7 chamber works, 12 world premieres, and 29 solos from the New Lullaby Project

* Now Musique Composers TL: John McDonald, Stanley Hoffman, Charles Turner, Aaron Larget-Caplan TR: Larget-Caplan, Ronald Pearl, Brian Schober, Scott Wheeler BL: Tom Flaherty, Larget-Caplan, Stefanie Lubkowski, Ian Wiese, Dennis Bathory-Kitsz BR: Anthony Green, Francine Trester, Jim Dalton, Michael Veloso, Larget-Caplan, Curtis Hughes

REVIEW – God’s Time, Bach for Guitar

5 stars ⭐️ ⭐️ ⭐️ ⭐️ ⭐️: A fine, sensitive, and contemplative set of arrangements for guitar of Bach’s music

Bertil van Boer, Fanfare • STREAM GOD’S TIME HERE

I’ve always had a soft spot for guitar arrangements of the music of Baroque composers, such as can be found in this album of works by Johann Sebastian Bach. Until recently, all guitar students where I taught were required to take Collegium, and though we did have a Renaissance lute, most were directed to perform music with tablature that may or may not have been written originally for the instrument. As one might imagine, there was a fair amount of Spanish and Italian Baroque works, but a fair number chose to attempt to perform music by Bach, generally trying to finagle the solo violin, keyboard, or cello pieces to fit their instrument. In every case, whatever the difficulty in so doing, the results demonstrated that his works were perfectly adaptable for the guitar, and moreover this is something that Silvius Julius Weiss, a friend of the composer, thought so as well, albeit his instrument was the lute. The purpose of this long introduction is to note that the majority of these “arrangements” were fine, if amateur renderings, but with this program we have some quite sophisticated ones that bring out the nuances in Bach’s often complex music. There is no attempt here to provide complete works, but rather the program shows a compendium of movements that fit together like a puzzle. This contains the following works:

  • Prelude, Fugue, and Allegro (BWV 998) probably intended for Weiss or a keyboard Lautenwerk
  • Prelude in C major (BWV 846) from the Well-tempered Keyboard
  • Prelude and “Fiddle” Fugue (BWV 539 plus 1000-1001), a mash-up of the three versions of the fugue
  • The opening chorus from the Actus Tragicus (BWV 106)
  • Chromatic Fantasy in D minor (BWV 903)
  • Prelude in E-flat major (BWV 853) from the Well-tempered Keyboard
  • Short Preludes (BWV 924, 926, 930, 934, 939, 961, and 999 but with a cadential borrowing from BWV 872) from the notebooks for Wilhelm Friedemann Bach and Johann Peter Kellner

All in all, it is a nice collection that Aaron Larget-Caplan has chosen to fit his theme of ethereal contemplation. A couple of examples will be of interest. First, the Prelude and Fiddle Fugue, his own compilation of several versions, begins with a fluid and quite complex movement, wherein he moves easily through the various layers of accompaniment, sometimes altogether and others in contrast. Yet, throughout the theme is clearly delineated. In the fugue, he easily outlines the various entrances, with a clear tone and precision of Bach’s lyrical fugal theme. The episodes are particularly well-placed with good depth in the harmony. In this paraphrase from the cantata Actus Tragicus, the smooth flow is pensive and steady, indeed contemplative, with a slow and light marching tempo. The E-flat minor Prelude is equally complex and at the same time evocative. He notes that it reflects the stages in life, and the opening seems calm and yet filled with an implacable march forward. The central sections are a bit more jagged, harmonic uncertain at moments, but a slower more deliberate tempo, and at the end the pensive mood returns.

There is a set of six smaller preludes and a brief counterpoint, all drawn from the pieces meant for Wilhelm Friedemann Bach and another set for his pupil Johann Peter Kellner. The second of these, in D minor (BWV 926), is a rather charming little exercise that at moments sounds a bit Spanish on the guitar, even as it is quite improvisatory. The fugue that follows (BWV 961) has a meandering theme that really indicates a musical wandering with an easy lyrical flow. Finally, a short prelude (BWV 939), barely half a minute long, twinkles or rather sparkles, setting a lighter tone for the set.

Larget-Caplan makes short work of these pieces, all of which seem to have been written for his instrument (though of course they weren’t). He navigates the sometimes odd twists and harmonic turns with grace and ease, providing at all times a soft and thoughtful performance, even in the couple of faster movements. This is the sort of music that is perfect for introducing students to Bach; complexity that is evened out, and a sense of how much depth each of the pieces has in terms of texture and lyricism. The notes here say that a compact disc is forthcoming, and whether one streams these works or waits until the disc is

released, it is sure to provide three-quarters of an hour’s worth of fine, sensitive performance on the guitar. Bertil van Boer

5 stars: A fine, sensitive, and contemplative set of arrangements for guitar of Bach’s music

God’s Time – Music of J. S. Bach on GuitarBACH Prelude, Fugue and Allegro in ETBWV 998. Das

Wohltemperierte ClavierPrelude in C, BWV 846; Prelude in eT, BWV 853. Prelude and Fugue in d, BWV 529. Gottes Zeit ist der allerbeste Zeit, BWV 106, “Actus Tragicus”: Scnatina. Chromatic Fantasia in d, BWV 903. Little Preludesd, BWV 926; No. 11 in g, BWV 930; c, BWV 934; C, BWV 939; c, BWV 999. Fugue in C, BWV 961Aaron Larget-Caplan, (gtr and arr) • TIGER TURN (Streaming audio: 48:54) • STREAM GOD’S TIME HERE • CDs at BANDCAMP

REVIEW: God’s Time – 5 Stars!

Five stars ⭐️ ⭐️ ⭐️ ⭐️ ⭐️ : A lovely disc, beautifully recorded, and expertly played by Aaron Larget-Caplan. Recommended

Colin Clarke, Fanfare • STREAM GOD’S TIME HERE

Entitled “God’s Time,” this is a charming and expertly performed disc of Bach on the guitar. All arrangements, each equally expertly handled, are by the present guitarist, Aaron Larget-Caplan. Although this is Larget-Caplan’s first all-Bach disc, it is his ninth in total. Previous releases include a disc of music by Cage (Larget-Caplan’s arrangements were the first to be authorized by the Cage Estate) and a sequence of discs entitled the “New Lullaby Project”.

The title of this disc, “God’s Time,” comes from the Bach’s early funerary cantata, In Gottes Zeit ist der allerbeste Zeit, BWV 106 (God’s Own Time is the Very Best of Times), a piece also known as the “Actus Tragicus”, not a piece heard very often, and most recently in my experience by Vox Luminis directed by Lionel Meunier at St John’s, Smith Square in London as part of the 2022 Easter Festival in a terrific performance. The piece itself contrasts the weight of carrying death with the serenity that is ostensibly held within that state. The transcription here is most effective, although obviously one loses the unforgettably mournful sound of the pair of alto recorders.

While most of the works presented here are usually associated with keyboard of some description, the Prelude, Fugue and Allegro in E flat-Major, BWV 998 was composed for “Lautenwerck” (to use its more usually accepted spelling), a harpsichord-like instrument but with gut strings. Larget-Caplan opts to transpose the piece into a more guitar-friendly D-Major, his arrangements, he says, inspired by those of Eliot Fisk, Segovia , and Oscar Ghiglia and is supremely well managed, not least in the Fugue, where linear clarity is achieved at all times with no loss in momentum and no interruption to rhythms; the final Allegro is very clearly a dance, its bass-lines crystal clear and grounding.

The famous C-Major Prelude is pure balm, magnificently even and harmonically cognisant. As for the Prelude and Fugue in D-Minor, BWV 529 (which has sometimes been considered as spurious), The Fugue is based on the second movement of the Sonata for Solo Violin, BWV 1001. There is a touching simplicity to the Prelude that contrasts with the rigor of the Fugue, and again it is Larget-Caplan’s technique that allows for the requisite rhythmic flow. The voice-leading is beautifully realized.

The Chromatic Fantasy must be one of the better known of the works here. The arrangement sounds fiendishly difficult, Larget-Caplan allows us to feel both the drama and the modernity of this piece. In contrast, the E flat-Minor Prelude from Book One of the WTC is a meditation. It transcribes supremely well for guitar, particularly when one has as fine a trill as Larget-Caplan’s.

While Larget-Caplan describes the final seven tracks as essentially keyboard studies but approached as guitar miniatures, the sequence of two Preludes plus a Fugue implies its own microcosm, the calmer C-Major Prelude (BWV 924) ceding to the fiendish D-Minor (BWV 926), before the fascinating Fugue in C-Minor, BWV 961. This is a fugue in two voices, its movement beautifully sustained here. Larget-Caplan sees the relentless tread as a reason for optimism, and who am I to argue?

A sequence of “Little Preludes” works well as a final group, with a further C-Major, BWV 939 offered in the manner of an encore. The last of that group, a C-Minor Prelude, is listed as “BWV 999-872″: the primary number is 999, but it ends inconclusively, so Larget-Caplan has somewhat ingeniously added the coda from BWV 872 (WTC Book I, the Prelude in C sharp-Minor). It feels very satisfying. Similarly, the “encore” of BWV 939 works because it brings us to a sense of sated peace.

A lovely disc, beautifully recorded, and expertly played by Aaron Larget-Caplan. Recommended. Colin Clarke

BACH Prelude, Fugue and Allegro in ET, BWV 998. Das Wohltemperierte Clavier: Prelude in C, BWV 846; Prelude in eT, BWV 853. Prelude and Fugue in d, BWV 529. Gottes Zeit ist der allerbeste Zeit, BWV 106, “Actus Tragicus”: Scnatina. Chromatic Fantasia in d, BWV 903. Little Preludes: d, BWV 926; No. 11 in g, BWV 930; c, BWV 934; C, BWV 939; c, BWV 999. Fugue in C, BWV 961 (all arrs. Larget-Caplan)    Aaron Larget-Caplan (gtr)  TIGER TURN 888-09 (streaming audio: 48:54)  Available on all streaming platforms, with physical copies available from Bandcamp STREAM GOD’S TIME HERE



Music Residency in New York

From May 25-31, I was the first Community Music Artist in Residence at the Kirkland Art Center in Clinton, New York.

Part of my proposal included an early evening family concert featuring solos from the New Lullaby Project, pajamas optional.

It was a blast!

Kids danced, adults relaxed, composers enjoyed themselves, and people listened to the music of now, though a couple pieces dated back to 2008 and 2009. Program below!

I don’t get to these type of performances often, but they are always amazing.

37″ Video introducing the space:

A series of New Lullaby Project concerts will take place this summer in the Boston neighborhood of Dorchester. Stay tuned!

The residency also include an evening formal concert, which took place after the day concert. The concert featured multiple premieres including two by yours truly.

After the concerts and a a day of rest and walking in the Glenn at Hamilton College, I returned to my work space  to continue my arrangements of John Cage for guitar.

In the span of two days I arranged nine short works and one by Erik Satie. I listened to loads of music and practiced a bit each day.

Huge thank you to my host Nora and Mike Revenaugh who run Garret on the Green. The space I stayed in was lovely and super clean. They also hosted me for two dinners, one of which was homemade pasta and locally made chorizo, so needless to say, I was very happy! (Picture below)

A tour of Garret on the Green:

The Kirkland Art Center created a safe and beautiful space for me to work. This being their first music residency we had lots of discussions and came away with many ideas. I am grateful to director David Fitzgerald and Jessica Locke, the KAC board, Nora and Mike, Scott Wheeler for encouraging me to apply, and the many composers who have written for me or the New Lullaby Project.

This was a fantastic experience and I can’t wait to return!

Audience members during the family program

Day Program of music from the New Lullaby Project

Evening Program

Kirkland Art Center, Clinton, NY

Concert space

Family Program of New Lullabies


Composer Thomas L. Read and violinist Evelyn Read

Formal Concert

Homemade Pasta and locally made Chorizo

KAC director David Fitzgerald

My work space for 1 week

New Album – honey cadence

honey cadence – guitar solos by Aaron Larget-Caplan


honey cadence tracks:

  1. sweet nuance
  2. honey cadence
  3. moving still
  4. minding play
  5. hidden anticipation
  6. slight nuance

About honey cadence:

Tone and variation of timbre are some of my favorite aspects of the guitar.

With melodies floating in my head, I aimed to highlight these unique traits,

while creating meditative intimacy.

Composed in December and January, the six pensive solos of honey cadence are

my first compositions to be recorded.

Some pieces began as improvisations and others were born out of a particular gestural idea.

Each title has a connection to music as well as general language,

i.e., ‘anticipation’ musical ornament and linguistically expresses expectation or prediction.

After the success of A Guitar Holiday,

I trusted Grammy winning producer Kabir Sehgal as a partner in the project.

I am grateful for the amazing mixing and mastering of Steve Hunt.

hidden anticipation sketch

Thanks to Alex Fedorov for realizing my cover art vision and

transforming my Fanton D’Andon guitar photo.

May the album add some sweetness to your life.


Composer/Guitarist: Aaron Larget-Caplan
Label: Tiger Turn • April 29, 2022 • 6 tracks • 24min
Producers: Kabir Sehgal & Aaron Larget-Caplan
Mix Final: Steve Hunt
Engineer & cover photo: Aaron Larget-Caplan
Album Design: Alex Fedorov
Recorded: January 23, 2022
Publishing: ALC Guitar Publishing (BMI)
Guitar: Olivier Fanton D’Andon, 2009

*Physical CDs can only be purchased through Bandcamp


2021 – Year in Review

2021 was many things, boring wasn’t one of them!

I’m not great at reflecting on the year, so I made a little list of some accomplishments as this year felt extra special:

  • 13 premieres
  • 2 albums issued
  • 2 anthologies published
  • 12 radio and podcast appearances
  • 6 concerts
  • 4 festivals
  • 3 awards
  • 1 article
  • 450K+ streams!

Not bad for barely leaving home 🙂

May 2022 be all that you wish for and need. I’m preparing for some recordings, concerts (fingers crossed), and a surprise or two.

Thank you for being safe and sharing in my music.

Aaron Larget-Caplan

Year In Review


Lainie Fefferman – Carousel – guitar + electronics
Tom Flaherty – Steps and Leaps – guitar + electronics
Alejandro Rutty – Down with those guitars
David Warrin Solomons – Passacaglia
UNC Greensboro Students: Joshua Weitz, Noah Marney, A.J. Lyon – 3 Pieces

New Lullaby Project Premieres

Curtis Hughes – lullibule
John Johnstone – Blue Lullaby
Tom Nazziola – Lull-a-by-the-sea
Ronald Pearl – Berceuse Inquiète
Štěpán Rak – Lullaby
Brian Schober – A Winter Lullaby

L->R top: Johnston, Pearl, Schober
L->R bottom: Nazziola, Rak, Hughes


A Guitar Holiday – Tiger Turn Records (450K streams!)
Drifting, Volume 3 of the New Lullaby Project – Stone Records
Passacaglia by David Warin Solomons, digital single
Discography of 6 Albums from 2006-2021 issued online by Stone Records


Nights Transfigured, Volume 1 of the New Lullaby Project, Pub. American Composers Alliance
Hushed, Volume 2 of the New Lullaby Project, Pub. American Composers Alliance 

RADIO & PODCASTS (click–>Podcast)

All Things Cage with Laura Kuhn (3x!)
Café Classicale with Felice Coral
Conducting Conversations with Mike Maino
Exploring Music with Tigran Arakelyan
Classical Guitar Around the World with Kevin Collins (2x)
Guitaromanie! with Karl Wohlwend
All Things Six Strings with Rick Cox
Is That Really Legal with Eric Ruben
Jay Talking with Bradley Jay


New Music Gathering, Portland, Oregon
21st Century Guitar Festival – Portugal
Guitar Foundation of America – Denver, Colorado
‘Institute for Effective Training International Conference’ – Russia


Three Revere Awards from the Music Publishers Associations – Nights Transfigured
Grant Southbridge Cultural Council
Small Business Association Grants


Tew Recital Hall, UNC Greensboro, North Carolina
First Congregation Church Camden, Maine
Robbins Library, Arlington, MA
Zalon, Philadelphia, PA
Jacob Edwards Library, Southbridge, MA
Windhover, Rockport, MA w/ amazing Dancers: Michael Trusnovec, Xin Ying, Annmaria Mazzini,, Thryn Saxon

ARTICLES (click–>articles)

Dorchester Reporter – Larget-Caplan’s new album explores Christmas classics



Coffee: La Pavoni

Many who follow me on socials have learned about my love of coffee, specifically espresso. In 2008 I had the pleasure of traveling to Sardinia and Bologna, Italy for concerts. On this trip, I noticed that espresso tasted quite differently than in the US, and it did not cause the negative effects on my body that I was accustomed to. Since then I have delved into the exploration of espresso!

I recall visiting the home of Maestro Pepe Romero for a New Year’s Eve Party, and seeing his counter tops covered in espresso machines, at least 6! He told me most of them were gifts from his students who knew that he and family loved espresso. Soon after he was in Boston for concerts, and we stopped for an espresso on the way back to the airport. He told me espresso was very important to musicians and especially guitarists. He did not say why, and I did not question him. He’s Pepe Romero and he was preaching to the choir!

My newest addition to our espresso family is the Stradiveri by the Italian company La Pavoni.

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Morning Espresso