James Piorkowski is a performer and composer based in New York. He has toured internationally as a soloist and chamber musician, and has recorded several albums. In addition to his performance activities, James is an active teacher and runs the SUNY Fredonia guitar program. Connect with James on Youtube. (part two of this interview)

When did you start playing guitar? Did you begin with classical? Give us your “guitar story.”

I started my musical journey by playing the accordion when I was 4 years old, with my oldest brother (a superb musician) serving as my teacher. When I eventually saw the Beatles on the Ed Sullivan TV Show , I then knew that the guitar was for me. My brother found an old steel string cowboy guitar for me, and I started learning popular music at his music store, with one of his staff teachers. I was 12 years old. I did the rock/pop/jazz explorations before the classical guitar beckoned, and it eventually gained a dominant place in my musical world.

Do you still play the accordion?

No, I haven’t picked it up since I was a boy, but my oldest brother who taught me still plays professionally, and he still plays very well.

Do you have any tips for the aspiring guitar composers or arrangers?

Learn the nuts and bolts as well as the craft: theory, harmony, comp sets, basic attack modules, etc., from knowledgeable people. Only then will your imagination have rails to travel upon. Listen to the music that moves your emotions and spirit, in whatever genre you find it, and then figure out what made that piece succeed in that way. Steal those “formulas”, but not the actual notes!

What have you learned about composing for the guitar that you wish you’d have known when first started?

That the composition doesn’t have be really difficult to perform to be musically effective.

What goes into a published piece of music? Is there a back and forth with the publishing company? Do you have to do all the typesetting yourself?

When working with a publisher, they each can have different criteria once our your piece is accepted. Some will accept any legible manuscript, but having the score set in some software program like Finale or Sibelius is very helpful for all involved. It’s a great skill (music notation software) for a composer to attain, because these programs are powerful tools that, when learned, can truly assist in the composing process. I have used Finale for many years, and present my works in that format for publishing. I also like the control that it gives me when preparing the manuscript.

Do your compositions often make it to recording first, then to publication?

It has worked both ways for me, but I like to make at least a decent demo recording for the publisher to hear when I make a pitch for a new score to be considered.

How exactly does one pitch a piece to a publishing company? What is the process to get published?

In my situation, it’s been the case of the right person liking my music. For example, I sent a recording and score of Leaping and Dancing for Joy, a work of mine for two guitars, to Sergio Assad. I asked him if the duo would consider playing the piece. His reply was, “I like the piece. Would you consider having me publish it through Editions Lemoine?” Well, when a member of the most famous guitar duo in the world wants to publish your guitar duet, that makes the process very easy, right? Of course I said yes. So most importantly, your music must have strong appeal to whomever makes these decisions. The hardest part may be getting that certain person to listen to your music, but if you really believe in it, send it off!

Tell us a bit about your recordings.

My philosophy about making recordings is based on this important question, … “Why?” What I mean is, what is the purpose of this project?

I wonder if the world needs another recorded version of Bach on guitar, or Albeniz, etc. My answer is, honestly, “I don’t think so”. There are enough really nice renditions already recorded by great players. The recordings that I have done post – Buffalo Guitar Quartet – have focused on presenting unique guitar repertoire for solo and/or chamber settings. But even with the BGQ, I commissioned, wrote and begged for new works for guitar quartet. In fact, we put out the very first recording of new music for four guitars in history (more information). I have to be honest and say that I’m really pleased about that, because it is a good album and it was a milestone recording.

My more recent recordings feature solo and chamber works by William Ortiz, Puerto Rico’s most prolific composer ever (he writes a lot for everything!), and also my own compositions. Freedom Flight and Sentient Music, both on Centaur Records, are two of my cds that represent what I like to play.

What is it like to tour and perform internationally?

First of all, it’s really special to be asked to share my music with any audience, and even more so when my compositions are heard across international borders. I’m deeply pleased when audiences from other nations and cultures show appreciation and support for my music. This encourages me to continue to write. Once again, I bear witness that music truly is an international language. How do you deal with all the travel? You have to learn to pace yourself, to save your energy for rehearsing and performing, while taking some time to see attractions in other places. I have found , though, that meeting people from around the world is always the most special thing about traveling. I now have friends – very dear friends – in South America, Europe, the Caribbean, and elsewhere.

How do you get your guitar around?

When I was in the Buffalo Guitar Quartet, we rarely were allowed to bring four guitars on board in an airplane, so we used very strong (but a bit too heavy) travel cases that we could confidently check with our baggage. When I travel now with one guitar, my case is pretty compact and light, (but still strong enough to gate-check if I have to), so I am almost always able to fit it in the overhead compartment of an airplane.

Did you enjoy this article? Check out An Interview with James Piorkowski, part 2 .

About the Author

Christopher Davis founded The Classical Guitar Blog in 2008. He is currently pursuing a Masters degree in guitar performance. In addition to his studies, Chris is an active teacher and performer based in Middle Tennessee. Connect with Chris on Twitter, Facebook, Youtube, and the Classical Guitar Network.

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