Solo Piano Music

Revised and completed version of (SZOPEN) RE:MEMBERING III for piano solo just flying to Canada to the brilliant Carl Petersson, to be among a few solo piano pieces he will soon record.

1st Warsaw Guitar Conference | UMFC

I’m looking forward to the 1st Warsaw Guitar Conference at the Uniwersytet Muzyczny Fryderyka Chopina, Warsaw.

Together with outstanding Mateusz Kowalski, we will premiere: (SZOPEN) RE:MEMBERING II and DODECAPHONIC PRELUDE AND FUGUE III, both brand new versions for two guitars.
We will also give Polish premiere of my EX NIHILO (NIHIL FIT) II for Two Guitars and Large Guitar Ensemble w/ the students of the Chopin University, conducted by Ryszard Bałauszko.

teaching | all additional info

Domeniconi / Pasieczny: Composer’s Project

I’ve been lucky over many years now, to make music with extraordinary people, however this is one of a kind, once in a lifetime project. This summer I’m going to compose and record music with living legend, composer I admire very much: Carlo DOMENICONI. I will compose together with Carlo large multi-movement piece for two guitars.

Royal Birmingham Conservatoire

The very first rehearsal and masterclass at the Royal Birmingham Conservatoire. Premiering THE ELEMENTS: Triple Concerto – version for Two Guitars, Cello and Guitar Octet with fantastic Gen Li (cello), Mark Ashford (guitar) and eight students under conductor Mark Eden.

Premiering on the 23rd of March at the Royal Birmingham Conservatoire


Thank you for purchasing my limited edition album ’SOLO’ (Contemporary Music for Solo Guitar)

YOU are one of only 200 people in the world who has it! Congratulations!

Following links below, you can now watch videos and purchase music scores from this very album 'SOLO’



’SOLO’ (contemporary music for solo guitar)

New album ’SOLO’ (Contemporary Music for Solo Guitar) will be out on the 1st of February! Only 200 physical copies will ever be released. All signed.

You can order your copy now contacting us directly via ✉️

Track List:

01. FOR PAT (to Pat Metheny) [4:41]


02. I. African Sketch

03. II. (The Other) Milonga

04. III. For Sylvia (Jazz Vals)

05. IV. Tom’s Blues

06. V. (Afro) Samba

07. VI. Lyle’s Maze

08. VII. Until Then (Jazz Ballad)


09. I. Polish Variations (Classical)

10. II. Polish Variations (Impressionistic)

11. III. Taiwanese Variations

12. IV. Japanese Variations

from TRAVELS [5:25]

13. Pōkarekare Ana (The Waves Are Breaking)

14. Thula Baba Thula Sana (original soundtrack from the movie ’The Wound Is Where The light Enters’)


15. I. Moderto Galante

16. II. Lento Religioso

17. III. Arpeggiato Largamente

18. IV. Allegro Vigoroso

19. UNTITLED (Black & Blood Orange) [3:59]

20. DESEJO (to Odair Assad) [2:32]

FINIS AUTEM PRINCIPIUM EST (Epitaph on John Tavener) [6:29]

21. I. Itiner

22. II. Lucis Fluctus

SCINTILLA (after Arvo Pärt) [5:54]

23. I. Part One

24. II. Part Two: Psalm

25. III. Part Three

(SZOPEN) RE:MEMBERING  [6:45] 1st Prize at The II International Guitar Composition Competition, Seixal, Portugal (2022)

26. I. no:cturne

27. II. pre:lude

28. III. ma:zurka (obertas)

29. SPIFFY (bonus track) [3:00]

30. LE-GO! (for microtonal guitar) (bonus track) [1:18] 1st Prize at The IV International Microtonal Guitar Competition, Istanbul, Turkey (2020)

Total Time [74:53]

All tracks composed and performed by MAREK PASIECZNY

(szopen) re:membering | score available!

(szopen) re:membering

I. no:cturne
II. pre:lude
III. ma:zurka (obertas)

Edition Type: paper-book, full score: solo guitar & composer’s program notes (12 pages) | Publishers: SLE London Catalogue Number: SLE081 | Date Published: 20 December 2022 | printed in the UK

order your copy now contacting us directly via ✉️:

1st prize at the 2nd Portugal International Guitar Composition Competition / Seixal, September, 2022 with Maestro Leo Brouwer as chairman of the jury.

Untitled (Black & Blood Orange) – single

Untitled (Black & Blood Orange) now available on all major platforms!

Untitled (Black & Blood Orange) is inspired and based on Pei-Shen Qian’s painting in the style of Mark Rothko. About the piece (original composer’s notes):

What is art? When does art become art and when does it stop? Does art become art only when someone tells us that it is so, and not before?

We live in a society where the price tag, the reputation of a ‘highly renowned’ gallery, and so-called ‘art experts’ tell us what is true art and what is not.  In turn, they are telling us what we should like and what we shouldn’t. But that’s not all. Under special circumstances, the same art experts may find something 'beautiful’, 'one of a kind’, 'brilliant’ and worth millions of dollars one day – and the next day completely worthless and unworthy of attention.


Untitled (Black and Blood Orange) is inspired and based on Pei-Shen Qian’s painting in the style of Mark Rothko. The title is mine and is inspired by the original titles which Rothko would give to his own paintings.

When I first saw this painting, I knew it was not Rothko’s original painting. I knew that it was not a literal copy of an already created painting, but Pei-Shen Qian’s inspiration from the technique, language and visual world that Rothko created, that later on Pei-Shen studied for many years and at the end perfected.

For me, this painting was simply beautiful and extremely inspiring. Proportions, space, abstraction, tone, climate, colours, dynamics, inconspicuousness, warmth, atmosphere… In literally the same moment I saw the painting, a very clear vision of presenting the painting through music came to me. This happens extremely rarely. It’s not simply inspiration (as even that comes rarely) but more like a revelation, certainty.

Post-Impressionism vs Contemporary Art

Everyone’s perception is different. Especially when it comes to art. And even more so when it comes to contemporary art. For me, Pei-Shen Qian’s painting in the style of Mark Rothko speaks more in the hues and style of impressionism than in the rather (very often, but not always) cold, industrial style of contemporary art.

Above all, this Image is warm to me. The main background in desert warm yellow, with warm (even hot) blood orange and warm black (which permeates the purple background) is for me extremely impressionistic, friendly, and therefore tonal. Refined harmonically, but still tonal. Not abstract, not atonal. Therefore, the first element that I 'heard’ in this composition was the atmosphere and harmonic language of post-impressionism.

Tuning &Polytonality

The picture, its structure and atmosphere, as well as the elements it contains, directly correspond with the music. Since the painting itself is abstract, I knew I had to break with the typical sound, idiom of the classical guitar and find a completely different sound world. Hence, I used a very unusual tuning that I’ve never worked with or written in (4th string down to c sharp). But that’s not all…

In the picture, two almost symmetrical elements can be directly distinguished – two squares. One in a shade of black (top) and the other in a shade of blood orange (bottom). It also had a very tangible effect on my choice of tuning that I mentioned before. The black square represents the first three strings: minor chord (e min), while the blood orange square represents the three bass strings: major chord (A maj). This polytonality (polyharmony) relationship also occurs throughout the entire work (hence my decision to score using two staves).

The arpeggio

So far timbre (colour) has been used as a reference to tonality. Tuning (but also vertical chord blocks / harmony) has been used to refer to the two main squares from the painting. The last visual and undoubtedly important element of the picture are the square’s edges (lines). The boundaries between the background and the 'main characters of the picture’: the two squares. The boundaries (these lines) are very irregular, jagged and dynamic. That is why I decided to present them in the form of an arpeggio in a very irregular time signature. Single notes in the form of arpeggios overlap to create harmonies and chords. A very torn, irregular meter brings energy and vibrance to the piece.

My intention to some extent was to create a bridge between the two fine arts – visual and musical. For me it is definitely a representation, an extension, of visual art in music. Those two fine arts which complement each other, in this very case: literally one was created from the other.

I hope this composition will inspire potential performers and listeners. I will show the element of harmony in music as a world of shades and colours. This piece was commissioned by and is dedicated to great physicist, guitar-fan and friend of mine – Tomasz Polak.

Marek Pasieczny
Leeds, The UK (January 1th 2022)

USA: Austin Classical Guitar’s 2022-23 Artist-in-Residence

I’m truly excited to officially announce my residency for Austin Classical Guitar’s 2022-23 Artist-in-Residence (Austin, Texas, USA).

I will be composing, performing and collaborating with fantastic musicians, conductors and students over several months. Soloists include the fantastic Bion Tsang (cello) and Thomas Burritt (percussion) and I’ll be working closely with Joe Williams , ACG’s Artistic Director who will be conducting a giant orchestra of over 70 guitarists from Texas, and Travis Marcum, ACG’s Education Director!

1st Prize in Portugal International Guitar Composition Competition

I am very pleased to announce that my piece (szopen) re:membering won the 1st prize in 2nd Portugal International Guitar Composition Competition / Seixal 2022 with Maestro Leo Brouwer as chairman.

I would like to thank Maestro Brouwer and all the honorable jury. Congratulations to all other composers from 32 different countries taking part in this competition. Thank you.

Marek Pasieczny / Leo Brouwer | Portugal International Guitar Composition Competition / Seixal 2022

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