Sheet Music for Piano Title Publisher Autumn Boston Music Intermezzo in B Minor Willis Music Intermezzo in D Schaum Pub. Last Day of School Boston Music Little Waltz for Left Hand Willis Music Mountain Melody Schaum Pub The Mischief Makers Willis Music Music Box Lullaby Schaum Pub. Romance Schaum Pub. Spanish Serenade Willis Music Summer Nocturne Schaum Pub. Sunset Serenade Schaum Pub Twilight Reverie Willis Music. Under Winter Stars Schaum Pub. Woodland Idyll Willis Music     Published Fake Books Chord Classics ( A Classical Music Fake Book with 114 titles ) Mel Bay Mel Bay’s Complete Traditional Holiday Season Fake Book (200 titles) Mel Bay     MAJOR PIANO WORKS IN ADDITION TO PUBLISHED WORKS LISTED ABOVE     From the Morning to Midnight CD, works composed between 1975 and 2002: From theSan Francisco Souvenirs CD, works composed between 1975 and 2005: Morning Song Pier 39 Rag Lunch Break The Golden Gate to the Sea Afternoon Doldrums Cocktails Atop of the Hyatt Twilight Aria Third Street Blues Midnight Nocturne Comedy in the Park Passion For Axel Taraval Street Rag At the Columbarium A Sunny Stroll Through Stern Grove The West Portal Street Fair McCoppin Square Bay to Breakers Sunset Streetlights May in the Mission Ocean Beach, Three AM The Stately Victorians of Pacific Heights Summer Fog The Russians of the Richmond Summer’s End Mega-Hit at the Metreon Arctic Winter A Farewell for Rosa Arctic Spring Kites on the Marina Green Prairie Homecoming The Windmills of Golden Gate Park For Maureen At the Conservatory of Music Prelude in Blue North Beach Nights For Zadie Glatt Saturday Night at the Opera Song for Smokey Melody in C for Glen Lee Misty Memories The Black and White Ball Postlude Irving Street Rhapsody   Lullaby for Kevin   Bay Sailboats   For Dusty   Party Time in SoMa     OTHER UNPUBLISHED WORKS Title Detail Theme and 32 Variations in A Major for Piano An early work composed in the mid 1970s In Memoriam for Cello and Piano Originally composed in 1973 for Viola and Piano Music for Piano, Clarinet, Marimba and Percussion An atonal, student work composed at the San Francisco Conservatory Classical Fantasy for Piano First completed work Concert Waltz for Piano An early work composed in memory of a dear friend. Over 100 Songs Composed between 1970 and 1989 with various lyric writers; most available only in lead sheet form. Dozens of arrangements Popular songs and edited works of amateur musicians. It Only Takes Two An hour long mini musical with lyrics and script by Dennis Goza. Never A White Christmas A San Francisco Christmas musical review of original songs, and skits by Dennis Goza. Saint Nicholas’s Bag A children’s musical play with script by Jack Boas employing traditional Dutch Saint Nicholas Songs. Several Arrangements Of traditional French Canadian Songs collected by Alice Latremouille. Many more songs Composed with Dennis Goza for his family’s traveling children’s theatre, Activated Storytellers. * N.B. I have never assigned opus numbers to my works since I usually revise them frequently over the years and consequently opus numbers would not be especially meaningful.

There are prodigies who can sit down at the piano and learn effortlessly, but most students must practice diligently to play well. Often students frustrate themselves by trying to do too much at once. Attempting to handle notes, fingering, timing, and expression in both hands at the same time can be overwhelming. However, by dividing the practicing process into a number of manageable sub-steps, you can progress more readily with a minimum of frustration. Below is a method I've found most effective in accomplishing this end.

First divide the piece into practice sections, following as much as possible the phrasing and natural breaks in the music. If the music is relatively easy for you, these sections may be eight or sixteen bars long. If the music is particularly difficult, two or four bar sections may be more appropriate.

Begin in the first section with the right hand. Play the notes firmly, with the correct fingering. If fingering is not provided, write it in if necessary to guarantee you use the same fingering each time, since learning is facilitated by exact repetition.

Don't rush. Pick a tempo that enables you to play comfortably and accurately. Remember if you play a note wrong once, you'll tend to make the same mistake again.. Repeat the notes in the section until you can play them effortlessly and without stumbling. Saying the notes out loud as you play tends to increase concentration and speeds learning.

Once you have mastered the notes and fingering, go over the section again, focusing on playing in time. Repeat the section several times until you can play it correctly. Then go on to the next and succeeding sections, treating each in the same way until you finish the piece. This is concentrated work. You may want to stretch this process out over several practice sessions, if as you tire, you begin to make careless mistakes.

Treat the left hand in a similar fashion.

Don't attempt to put the hands together until you can play each independently, comfortably and in time. Practice sections should again be employed in putting the hands together. It is often helpful to play alternately the the right and left hand parts several times independently before attempting to coordinate them. Counting at this stage is essential to ensure that the parts come together correctly. It's also important to repeat the section several times once the hands are together to consolidate the learning and ensure that there will be a minimum of "learning loss" between practice sessions. This frustrating but common phenomenon can be reduced by maintaining a frequent practice schedule.

Pieces should be taken up to tempo very gradually; rushing the process leads to mistakes that are easily learned and difficult to correct.

Finally, focus on dynamics, phrasing and other performance details to achieve a polished effect.

Sometimes, in spite of careful practice, you may find yourself stumbling at a certain point in the music. If you examine the situation, you'll usually find you're making the same mistake each time- like forgetting to play a sharp, putting one in that's not there, missing fingering, or playing a phrase consistently out of time. I've found the best way to deal with such trouble spots is first to identify exactly what you are doing wrong. Then go carefully over the bar or phrase containing the trouble spot several times, reminding yourself as you approach it exactly what you must do to correct the problem, such as "play G not A" or "count two not three". As you follow this procedure, you'll tend to memorize the correct version and transform it into one of the securest parts of your performance.

To play convincingly, the performer must get beyond the notes and attempt to convey the spirit of the music. In doing so, several factors should be considered: the work's title, tempo, and expression markings; knowledge of the composer's life, times and the performance practices of the day; and most importantly, the performer's own imagination. Imagining dancers will make your waltz more life-like, as thinking of a loved one will render a love song more convincing. The more knowledge and imagination you can bring to a performance, the more effective and communicative will be your style.

Q: Why are shopping malls dangerous?
A: You can be mallested.

Q: What can a slow Post Office line lead to?
A: A stampede.

Q: What adjective best describes an eagle?
A: Talonted.

Q:What must you avoid when buying rattan furniture?
A: Being bamboozled.

Q:What happens if you steal a pen?
A: You get sent to penitentiary.

Q: What happens if you steal a penny?
A: You get sent to pennytentiary.

Q: What do Chinese cooks do before preparing a meal?
A: Go for a wok.

Q: What is the pessimist's creed?
A: In life you must learn to accept the bitter with the sour.

Q: How does a motorist with a full load of passengers drive?
A: Car-fully.

Q: What do you say to someone who lost their dog?
A: That's a dog gone shame.

Q: What would you call a retreat on the moon?
A: A moonastery.

Q: How's your cat?
A: Feline fine ( or, Feline not well )

Q: Why take an elevator?
A: For an uplifting experience.

Q: What do jockeys do?
A: Horse around.