All works by David March shown here are shared for portfolio / demonstration purposes, and are fully protected by U.S. statutory and commonlaw copyright. None may be reproduced without express permission. Additional images provided are the property of their respective copyright owners, and are shown to provide context for work produced by David March in fulfillment of assignments during his employment.

This page has links to animation and music, and listings of Publications and Credits.
(Lots More Added as of October 2015)

Here are a few MP4s and GIF versions of selected animation samples. Click on the captions; depending on the configuration of your system you might get better results by downloading the movie.


This sequence comes from my new-forged skills with Lightwave 3D software. I'd spent two years rigging and animating warriors at Atari Games using Wavefront Kinemation (Dynamation for some of the FX), the software packages which with Alias software served as the great-great-grandparents of the present MAYA 3D. In all that we animators were fully occupied with rigging and animating, and didn't have an opportunity in that game ("Vicious Circle") to build models. Distinct divisions of labor...The frantic music track for this tribute to Pixar's character "Mater" is "Boogety Boogie" a piece composed and realized using Sibelius music software. Inspired by lots of cartoons of the 1930s, I've been drawing cars with their HEADLIGHTS as Eyes. Still works for me.


          "RugRats Mystery Adventures Intro" animation by David March, using NewTek Aura® software
Mike Bailey did the 3D models and Maybe the Music, Lila Kim did Backgrounds, and David Ball composited in AfterEffects.                 

The smallish company "Know Ware" was founded by a few former Learning Company people who went out on their own. This tiny group - only about ten folks - managed to craft TWO sophisticated CD games both in a production schedule of considerably less than a year. Creative Director Mike Bailey was a real inspiration, leading by energetic example. He did 3D props, character models and animation to supplement the primary 2D animation, and composed & performed some excellent music, when he wasn't helping the rest of us with balky software and finicky circuits.


    As I come to think of it, the game had a sequence in which Tommy Pickle searched a little park playground for a missing sippy cup or a wad of pacifiers. I remember animating walk cycles from a number of angles - BRUTAL! - so Tommy could respond and change direction as the player directed. At least, each one could be flipped: the NorthEast walk became the NorthWest walk, and so on.

There are lots of "cheats" in electronic games. In "Primal Rage" every one of the critters (designed by Jason Leong) was a latex model baked with steel ball-and-socket joints, animated frame-by-frame by "Sneaky Pete" Kleinow, pedal steel guitarist of great renown. He had recorded and performed with lots of bands when he wasn't doing the animation he learned from Ray Harryhausen. We 2D animators doubled the number of characters in the game by taking Mr. Kleinow's images and altering the colors and little details to create "evil twins." Of course, most of them were already pretty darned evil, so we were just making Even More Evil Twins... In fact, a lot of the work we did involved enhancing Pete's classic Stop-Motion work by enlarging the fists of the Ape at crucial moments, or exaggerating the claws and fangs, and BUCKETS of BLOOD. I ran out of red pixels at one point, and had to submit a requisition for more.                                                                                                                                          
True story.

                                   Bob The Weatherman - from "The Magic of Television" half-hour show                          

About three years into my time in Cincinnati, a local TV station for which we'd done a TON of favors, commissioned a fun entertainment show to be produced by the staff at Instant Replay where I'd been working. The premise was that their weatherman had somehow gotten sucked into the electronic weather graphics system, and we hotshot CGI folks were his only hope! It was Zany in ways that show Cincinnati is NOT the stodgy conservative backwater some folks like to believe. I was just one of about five people whose work garnered them an emmy from NATAS for that show.


                                                     "The Last Flying Boat of WWII"

This AfterEffects piece used some Adobe Illustrator drawings I put together, along with AE's 3D space, camera, lighting, and independent animation layers, a while after I participated in a workshop with Regent's Peggy Southerland, with whom I'd begun a correspondence while I was working at Atari in the early 1990s. There are people who are much more fluent with certain software they've used daily for years at a stretch. My own experience has been to work with Dozens of Combinations of software and hardware, guided by an understanding of the general workflow that follows from decades of taking projects from first concepts through budgeting & scheduling to delivery. Along the way, I've benefited enormously from the generosity of people who have patiently given me lots of short tutorials to make sure I don't screw up too badly.


                      "Steampunk Clock"  Lightwave 3D                               "Cow At the Rail"  Lightwave 3D       

The sundial and "steampunk" clockwork were done as a whimsical response to a course assignment when I was learning Lightwave 3D - the only time in my career that I've had a chance to take an actual academic class in a software application! The cow sequence was a speculative test originally cast as a pitch to a certain restaurant chain that used a drawn cow in their print adverts.

     "Using a Steam Jet to Un-Plug Deep Drainpipes"                              "ALL-Pet TV :30 Institutional Spot"      
   animation for a training program Norfolk Public Utilities                        small market broadcast production
    for a program produced by Rick Voight.                                                  Limited Animation, but some fun!
                                                                                                                Megin Kennett successfully guided
                                                                                                               several spots I animated for ALL-Pet.
                                                                                                               She took care of keeping the client up
                                                                                                             up to the minute, and gave me broadcast-
                                                                                                              ready soundtracks early in the schedule.



This 10-Second Walgreens Christmas national spot was commissioned while I was the staff 2D animation director at Instant Replay Video Productions in Cincinnati. Most commercial production, even the sequences I did for TinyToons and AniManiacs, were done at a dead run, just time for one pencil test and a few refinements or adjustments, then BANG! Off to Taiwan for Xerox, painting and photography... This one allowed me to do a little extra refinement. It was produced with hand-drawn figure animation for the elf, plus a Quantel Paintbox background, and everything colored and composited in Paintbox, then transferred to the Abekas Digital Disk recorder, and sound added in a full video editing suite.

Typically, I animated on paper, scanned with a black & white camera, then used Paintbox to clean up and color the frames and layers, and compositing. In 1984, I'd visited Today Video in NYC to have their Paintbox wizard composite a 4-minute animation I'd been drawing for Lawler-Ballard-Little in Norfolk, to promote GE's NeoVision BlueTube TV. That visit really gave me an itch to operate Paintbox, but didn't get a chance to learn it until IR's Paintbox Goddess Tina Eastlake patiently showed me the tools and procedures when I started there a few years later.

Paintbox was hard-wired circuits, not much software, broadcast resolution. Each memory cartridge massed about a kilo, and stored only about 80 full-screen images, if I recall correctly. Computer graphics have come a LONG WAY. When I was learning just the basics of the $500K Vertigo™ 3D system, we had to wear a Grounded Wristband on one arm, to avoid damaging the microscopic circuits from static electricity!

Walgreens used this spot for a number of years afterward. The Music was composed and realized by Sylvain Acher, a gifted composer working in Cincinnati at the time. A Facsimile of the storyboard I sketched that helped get the contract is shown below :

(Storyboard, pencil test, and TV broadcast spot appear courtesy of Instant Replay Video Productions and Walgreens, shown as portfolio works only)

This is a pretty decent and concise example of a PENCIL TEST for animation, similar to the Senior Projects from applicants who contacted me (and other producers) over the years looking for work. Specifically, I tell present students that they needn't be shy about including tests like this along with examples of finished work in their portfolios. It tends to reassure potential employers that in fact you DO KNOW and use a RATIONAL production procedure. Over decades I've seen scores of portfolios from recent graduates from Sheridan, USC, and CalArts, that showed their 2D  senior projects in Pencil Test form, with synchronized audio. In the industry - certainly using traditional methods, anyway - the  cleanup, tracing and painting are typically done by artists without specific ANIMATION training. Occasionally, you WILL find a studio that has its animators do EVERYTHING animation, tweens, cleanup, painting and compositing, but as far as I know, that's pretty unusual. Division of Labor seems to be more the rule in larger studios.

 ...produced with hand-drawn art on paper,
scanned w a black & white fer-Pete's-sake SURVEILLANCE CAMERA feeding into Quantel Paintbox,
compiled on Abekas Digital Disk Recorder, then transferred to videotape via a multiformat editing suite,
Instant Replay Video Productions 1989.

Actually, many 10-to-12-person game production teams -  such as Atari's Coin-op division AND The Learning Company - typically comprised a Producer, Lead Animator, Part time Music & SFX producer, Game Play specialist, Programmer,  environment, architecture & prop Designers, Animators who could rig & animate, and modelers who built the geometry AND applied textures and surfaces. Lighting might be handled by different people, depending on the skill sets within the team. There might have been some teams with a designated specialist in Visual Effects, but for the game Vicious Circle that I worked on, we animators created our own effects.

Hey, it was 1993-96, and the arcade game screen dimensions were 320 by 240 pixels!

Anyhow, imagine just the salary & f.i.c.a costs of having 10 or 12 people working for a year-and-a-half on a single game.To keep the company doors open, pay some profits, and ALL THE RETIREMENT PLANS, you can see it's a challenge to make an exciting game, to sell at a competitive price to a few thousand buyers... just to break even.


               Animating Carousel.swf                                                    Eye-level view (courtesy of MobyGames and Scholastic, Inc.)

Mike Bailey (Creative Director at Know Ware) recommended me to Scholastic, Inc. to get some sequences of Clifford (the Off-Model dog) back to specs. While I was working on that task, Assistant Producer Andrea Chan asked if I could build a 3D carousel and animate a couple of views for the same CD game. Checking the website for the game, I found that I'm listed as one of the additional animators! YAY!



                                                           "Edgar's Dilemma"

An early try at acting with Lightwave 3D. Edgar has just learned he has to rescue a pal from a bunch of rascals. Doubt and apprehension come naturally to him, as much as he longs to be plucky and resolute.

depiction of side-impact collision between
a Ford Bronco and a VW Jetta
Cityscape foreground, skyline & animation ©2006 by David March
using Lightwave® 3D software
Exploration, Not a commercial production.
I was happy to get the feeling of early morning light and shadow.

              "Cathartic Vengeance" - a silly interactive romp, "Where YOU get to punish obnoxious people
who make Life a pain in the Butt." Animation, characters, and audio copyright © 2000 by David March.

This was produced entirely within my apartment using my mac for the animation and all the audio. I needed a fun demo piece to show I could navigate my way through Flash, 'cause suddenly that month, EVERYONE was setting up to become the "Premiere Entertainment Site on the Web!" And rake in the loot from the advertising revenues.

About a year before the so-called "Dot-Com Bubble" exceeded its tensile capacity, I'd got a licensed copy of Flash and worked through the tutorials. By that time, I'd been animating for more than twenty years, and had improvised broadcast productions with dozens of combinations of quirky applications and technologies - with a LOT of help from workmates who actually knew what they were doing. Turns out that Adobe (along with the young upstart Maya) have some of the best-organized tutorials around. They got *ME* up to speed pretty darned quick.


Now, here are some completely self-indulgent illustrations, devoid of heavy-handed messages.

All illustrations shown are copyright by David March, all rights reserved, reproduction in any form by permission only.


               "You knew the Colonel? You must                      "Deck Dancing" mixed media - pen & ink &
              know Ever so many exciting stories!"                             Prismacolor pencils

The Dollmaker

Caption: "Now don't you go telling! She needs a proper setting
for some 50-year-old Bonsai Elms someone gave her."

Pen & Ink & graphite pencil



 "Rex's Garden" Ink & graphite pencil 1985
 In the collection of Doctor Peter Fisher, DVM
Dr. Fisher had done wonderful work with several of our family pets.
I never told him that I did this drawing over a number of nights during the dialog breaks
when I wasn't playing my fiddle in the pit orchestra in a 2-month run of "Fiddler on the Roof"
at the old Tidewater Dinner Theater at the Lake Wright Inn near Norfolk Airport.
25 years later I played in a production in Placerville, CA, but that time they had me in costume on stage, following Tevye around. I cried every time the girl playing Chava did her dance. Jeez. You'd think
there would be a stage trick someone could share with me.
Or a 12-step program.


  "Odalisque # 17" pen & ink & Prismacolor pencil, circa 2007
 In the private collection of Ruby Southerland


                        Facsimile of frame from Tree Felling Safety Film for Stihl  circa 1985
                          Tim Hickman, Cinematographer, Image & Sound Productions, Ltd.
                                         Lexington, Virginia
                                     Animated Sequences by David March


               "Inn of the Prancing Pony" by David March, 1977  Pen & Ink & Graphite Pencil


Details of "Inn of the Prancing Pony" by David March, 2015 re-casting using Adobe Photoshop
I think Next, it will be a painting with color. Enough of this drab black & white & gray stuff!


                                                                               "Heaven's Bark"

Actual caption: "Our next tack would bring us alongside "Heaven's Bark,' from whose decks we presently caught the sounds of a concertina and fiddle."

One of a series of mixed media illustrations - pen & Ink & Prismacolor pencils - all on a Flying Galleon Theme.


                                  "Meeting by the Keep" Graphite Pencil on Bristol Board  Copyright 1983 by David March


"GE-90 intro for Farnborough International Airshow" visual planning for a 3D introduction of a substantially larger jet engine, and all the careful design that had gone into ease of transport and assembly that could be done entirely with tools and aircraft already in inventory.

After three years on staff at an advanced production studio, I struck out on my own. Shortly I was contacted by Rick LoBuono of General Electric to do a storyboard. They needed boards and liaison with a 3D producer for the new giant GE-90 engine to be introduced later that year at the Farnborough International Airshow. He knew I had production experience with a range of 3D software, and thought that should help make the storyboards relate more properly to the actual workflow and challenges of 3D production.

This facsimile page represents the simplest stage of the art following from earliest conversations with GE technical staff that sat with me with information about the size, special equipment, and mounting techniques. Apart from the much greater efficiency and power of the engine, a big selling point was that standard equipment, cargo plane dimensions and systems already in place at airports around the world meant that the new engine could be handled more or less routinely by purchasing airlines without costly specialized facilities.

"First Pass sketches"

(Images appear courtesy of General Electric, drawn by David March 1990.)

 In addition to a lot of fairly simple line art, I did a few more carefully rendered bits. Later, while a small computer graphics group worked on the fancy production based on my freehand drawings, as an afterthought I built  a mockup of the wing, engine mounts, hoses, farings and turbine fans in some $300 software. No frills, just the basics, wireframes, hinges, joints, and no texturing. But they LIKED it. Go Figure.


Here's a silly drawing I did long ago to entertain folks when I visited to promote my bitty little animation studio:


A few editorial spasms. Advice from several syndicated cartoonists I've met: Be ready to spend most of a  year sending out your work, simply to convince editors they can expect you to keep at it. They don't like to buy a few things then find the artist is unavailable. Garry Trudeau (of "Doonesbury") said he was expected to maintain SIX MONTHS' worth of camera-ready work at all times, in case he's injured or otherwise disabled. This allows the subscribing publications time to find a replacement cartoonist or feature. When I was interested in developing cartoon strips, I read a fine book by Mort Walker, cartoonist of "Beetle Bailey" fame - Backstage at the Strips ( ISBN-10: 088405117X, ISBN-13: 978-0884051176) in which he mentioned that as of 1970, there were only 300 individuals on the planet who were making a full time living from their cartoons being published on a daily basis.

That's even fewer than ANIMATORS!!

... some folks frequently in the news in 1984...

    Colonel Mouammar Ghaddafy         Ronald Reagan                                      House Speaker Tip O'Neal

                   Ayutollah Khomeini                                NYC Mayor Ed Koch                  British P.M. Maggie Thatcher


Gosh! Remember the SOVIET UNION?????

In 1979, Russian troops invaded Afghanistan.


In 1984 Walter Mondale, who'd served as Carter's V.P. ran for President.
In the primaries, even before a sex scandal scuttled his bid, Senator Gary Hart was lagging behind...

For decades, editorial cartoonists worked with a specialized Paper that came printed with light-blue DOT PATTERNS, that darkened to near-BLACK when you brushed on one of two chemical developers. This meant the artist no longer needed to have their art photographed using a halftone dot-pattern SCREEN, a service available almost exclusively through large commercial printing companies. I still have a few scraps, and a couple of bottles of developing fluid. Hmmm. Maybe I can put them next to the mud tablets I had to mix for my Cuneiform lessons.


To make sense of the cartoon below, you have to understand that Walter Mondale's campaign was seemingly doomed from the outset, because he made the mistake of quitting a successful senate career to serve as vice-president during a remarkably calamitous administration headed by James Earl Carter.

Carter ("The Hapless") began by angering veterans by issuing a blanket pardon for ...

... Aw, to heck with it. You just had to be there.


On a Cheerier note, a card design or two and some more whimsical illustrations...

"The Outing" © 2007 by David March
Mixed media - Pen & Ink & Prismacolor pencils


(Lots More Added as of September 2015)

Here are links to a few audio files to give you an idea of what I'm aiming for in music. The La Mer String Quartet is made up of musicians I performed with for years in Symphonicity, the Symphony Orchestra of Virginia Beach. For four years I was one of two fiddlers in the quartet, along with Lynette Andrews, first violinist, Ellen Grainger, viola, and Lori Reid, cello. We played all over Hampton Roads for weddings, receptions, parties, Mayor's Prayer Breakfast, etc. As my teaching tasks have increased, I withdrew, but they found another (probably better!) fiddler, and they continue to perform, everything from late Renaissance to Andrew Lloyd Weber tunes.

"Brandenburg No.3.mp3"
(Performed w. La Mer Quartet, live recording by Jim Edwards, May 2008)

Habañera from Bizet's Opera Carmen
(Performed w. La Mer Quartet, live recording by Jim Edwards, May 2008. I'm playing the solo on this.)

"Blue Tango"
--- LeRoy Anderson, composer (Performed w. La Mer Quartet, live recording by Jim Edwards, May 2008)

"Belle of the Ball"
--- LeRoy Anderson, composer (Performed w. La Mer Quartet, live recording by Jim Edwards, May 2008)

Original Compositions & performances by David March

"The Music Box" Inspired by Couperin's classic harpsichord piece "Les Barricades Mystéreuses" I began fooling around with the basic motiv in 1968 in my single semester of music composition before I got Mononucleosis. For several years afterward I spent every spare moment carrying a Beatles songbook and looking for a piano. You know what the things are supposed to sound like, and you just keep searching until the keys you hit actually match the chords and melodies, right? Well, that's how *I* learned to play piano, anyhow. I never claimed to be sane. Cheaper than taking lessons, and I've known a LOT of professional recording musicians who are entirely self-taught. This mix switches from my Sibelius composition - with its more or less mechanical synthesized "realization" - to my live keyboard performance from some years ago, processed with Adobe Audition mastering. I'm really praying that no credentialed musicologists hear of this before I'm in my grave.

......"Baile de los Vaqueros Regresanos" copyright © 2008 by David March, recording /performance via Sibelius® software
Like many of my compositions, this one was a long fermentation process - a chord structure I worked out on guitar two decades back. As a teenager I knew enough about musical notation just from playing in orchestras and from the chords my brother taught me on guitar that I was able to write lead sheets for other less-trained musicians for them to submit with copyright applications, showing their melody and chords for a song they'd worked out. But actually writing music - as distinguished from working it out by ear over many sessions - didn't come easy. Only after acquiring Fermata™ and later Sibelius® software could I simply sit and put notes on a staff and in a day or two have a full composition. Of course, by that time, I'd been performing, recording, and composing the slow painful way for most of my life. I mention these things to encourage OTHER FOLKS to give it a try. There are people who have talents they've never had a chance to discover.

"Celtic Tango" © 2008 by David March, recording /performance via Sibelius® software
A crazy cellist / law clerk who ended up working around the world for the State Department introduced me long ago to the recordings of Carlos Gardel, who is still a favorite of Argentine music fans decades after his death. Ben had hitchhiked throughout Mexico, collecting florid wrestling masks, and trekked the Central Americas, and into Brazil. I don't think he depended on hitchhiking everywhere, but the guy saw things close up. Did he ever actually use his Chinese language skills? Anyhow, my addiction to Scots and Irish music seems to have led to this weird fusion.

"Herald's Road" © 2001 & 2008 and 2014 by David March, recording /performance via Fermata® software     
As mild as California Winters in the San Francisco Bay area can be, sometimes you yearn for the spring. After the craziness of Y2K, Northern California had a surprising amount of rain to wash away the stress and make the landscape all new. I drove to a county park in Herald, California, to play my fiddle at a "Crown Event" hosted by the Society for Creative Anachronism. A crown event is one in which there is a good deal of individual combat with padded rattan swords and full body armor. The person who prevails in a score of these, with his limbs and brains intact and in good humor at the end of the day, generally is hailed as King, or at least Prince, for a limited period. There are hardly ever any major fatalities or amputations. During and after, there are feasts, bawdy stories told around blazing campfires, with roast meats and cakes and turnips, and all manner of spirits. SCA folks know how to make strangers feel welcome. 
"Recuerdos De El Dorado"   © 2014 by David March, recording /performance via Sibelius® software

"Spillane's Ghost" 2008 by David March, recording /performance via Sibelius® software 
This is a brief segment intended as a sort of Urban / Film Noir track for some animation experiments I planned.

"Ludwig's Two - Step"  ---- I heard a friend's performance of the Beethoven fugue, and wanted to explore the theme. If I actually could play piano, I might have tried to learn the actual piece by the master, but since at the time I only had the most rudimentary keyboard skills, the result was that *I* had to go ahead and work out something that was within my meager playing skills. People seem to enjoy it, maybe because it doesn't drag on too long. Short attention span music. My speciality, © 1969 - 2015 by David March

"Fat Tuesday Romp" © 2001 and 2005 by David March, recording /performance via Fermata® software. 7/8 time (actually "1-2,1-2, 1-2-3")  never made sense to me before I worked out this chord progression, but once I'd practiced it for a while, melody ideas came pretty easily. A lot of Eastern European cultures have traditional music and dance based on far more complex prime number timing. To get the final version I used Fermata™ - a music composition and rendering software from the mid-80s, no longer available, but a worthy precursor to the amazing Sibelius software. Anyhow, this music seems much more related to a New Orleans Mardi Gras than to any sort of celebration from the Levant - that's howzcum the name.

2016 Re-Mix "Fat Tuesday Romp 2016" © 2000-2016 by David March

"En el Jardín" © 2008 by David March, recording /performance via Sibelius® software
Makes me think of the beautiful architecture and music of Spain, maybe the best legacy of the Moorish influence.

"Woodstove Rag" - composed by David March. First piece I ever managed to write on purpose, as opposed to having something just evolve by experimenting. Originally composed in 1986, realized as a Fermata production in 2001, and re-cast in 2014, Intended as a theme for some silly animation I'm still working on intermittently.

Here are two "Halloween / Creepy" themes, suitable for animation exercises:
"TucuMania 2016 Mix" and "HemoPhobia 2016 mix, aka Noche de Los Muertos"
both copyright © 2000 - 2016 by David March

"Louisiana Lullaby" - © 2008 and 2015 - a shortened version, awaiting the day I can get it together to play my fiddle and lay down some tracks.

"Meadows of Summer" composition, keyboard performance & recording © 2001 by David March
This is a composition that coalesced over a decade from fragments that gradually fitted together after many hours using the keyboard as a sort of trance-state inducer. Actually, a lot of my music has come into being that way. It's an untidy and undisciplined method, and not the sort that works at all well for commissioned works, which is why I work as an animator, not a composer-for-hire.

"Song for Susan" - One occasionally is subject to what polite society on a time called "fits." The word conveys a temporary derangement, involuntary hypnotic state, compulsion, epiphany, agape, love, whatnot. Happens to most of us from time to time, and some of 'em never actually end, but just continue in elongating slow waves - crests and troughs stretching out like the background radiation of deep space, echoes of an event from long ago, the echoes and energy of which never really disappear, but just attenuate indefinitely, still reminding us of something eternal. This one finally coalesced into a coherent composition & performance when I had some time and a piano to plunk on enough to capture a mostly tidy performance. Composition/recording & mix are © 2001-2015 by David March.

"Waltz for Juanita" -- I played these themes for my mom sometimes, never had a name for them. She seemed to enjoy'em. By the time I'd cobbled them together, she had lived long enough to see me employed and out on my own, so she was able to just listen to the music and not worry about how shiftless and jobless her lazy son was! Seriously, she put up with a lot. Reflecting upon my heedless childhood, I'm repeatedly astonished my parents didn't either throw me in the river or sell me to traveling Gypsies.

 Performances / Arrangements by David March

In 1995 I was asked by a friend to sub for her as the fiddler for "The Merry Praynksters" English Country Dance ensemble that had been performing for years at the Northern California Renaissance Pleasure Faire. That in turn connected me to Cat Taylor, who at that time was putting together a Celtic Dance performance she titled "Challenge of the Seidh." Along with several of her own compositions, we did a number of traditional Irish fiddle Chewns, one of which was "SwallowTail." This arrangement & performance of the traditional tune is Copyright © 2007 and 2014 by David March.

"Dueling Sleighbells" was composed in the winter of 2002 for the Placerville Symphony winter concert conducted by Music Director Henrik Jul Hansen. This silliness borrows and weaves themes from "Dueling Banjos" and "Jingle Bells." It was performed live by several members of the orchestra, from sheet music printed from Fermata.

"Spain" composed by Chick Corea
(arrangement by David March, transcribed & arranged by David March, realized w. Sibelius software)
In 1975 I performed this with a bunch of wild and crazy musicians joined for a reunion, including songwriter Chuck "Coyote" Larson and bass player Harry Daly, from Jimmy Buffet's Coral Reefers. It was an amazing tune to learn and since then I've heard it played by some truly great musicians. I kept re-visiting the piece, hearing other musicians' treatments, and in the fullness of time I had to try my hand. This arrangement uses about ten different synthesized instruments. and eventually I have a string quartet arrangement I hope to get some friends to try. (Are you listening, guys?)

"Mi Mancherai" - Theme from the Movie "Il Postino"
Composed by Paolo Lazzarini
In 2011, eleven-year-old Jackie Evancho performed this in a concert staged in the Sarasota, Florida mansion of the Ringling Family, of circus fame. This concert, partially funded by PBS, went on to become the most successful fund-raising piece they have ever had. Ms. Evancho's performance of this song charmed me, and inspired my clumsy fingers to work out this treatment.
Arrangement for guitar & performance 2011 by David March

"Thank You, Nicky Hopkins" - This comes from a studio improvisation by pianist Nicky Hopkins, on the Steve Miller Band Album "Your Saving Grace" for the song "Baby's House" circa 1969.
Nicky Hopkins' solo, seemingly spontaneous, and certainly joyful
and uncontrived, still leaves me reeling. I had to learn it. It was a goal that took years forced me to grow as a musician and keyboard player. In time, it resulted in this arrangement with two fiddle parts exploring the themes in two keys with some variations in chord structure. I've never performed this for a gig, nor am I trying to market this tribute. Offered as a tribute to Mr. Hopkins, and thanks for the inspiration. This re-mastered mix from November 2015 tones down the fiddles in the reprise. Kind of a shame to realize after all these decades that I can be much sloppier as a fiddler after working on that instrument ten times more than I ever did on piano. Rats.

"Martha My Dear" - a fun little tune by Paul McCarthy on the 1969 Beatles White Album. The instant I heard it ... well, You know. My brother had gotten me started learning tunes by playing a 33&1/3 RPM disk at half speed (well, 16 RPM) which is pretty darned close.) By 1969, we had already been figuring out tunes by that clearly "OCD" method for almost a decade. I just didn't realized I was driving another student to the brink of madness, running back and forth between the stereo system in my dormitory room and the piano practice room RIGHT BENEATH HIS Bedroom!

He was surprisingly decent about it, and didn't fire the large caliber weapon he gripped with his sweating fists.

"Soldier's Joy" - old fiddle tune. I learned the melody from "Fiddlisticks" - an album from about 1980 featuring mandolin master David Grisman, Tony Rice, and fiddler Darol Anger. I also owe a great debt to fiddler Richard Greene, and the  medley he recorded leading into and including the most compelling version of "Orange Blossom Special" I've ever heard. It was the climax of the second SEATRAIN album, the one produced by George Martin, one of the few he produced apart from his long mentoring relationship with the Beatles. His fiddling --
exuberant and sure as any demented Rumanian gymnast from the moment I heard his work on Jim Kweskin Jug Band's album "Garden of Joy" with Maria Muldaur-- got me playing fiddle again after I'd drifted away from music for a year. This arrangement for 3 fiddle parts and guitar was done with a Mac titanium notebook using its built-in mike feeding into an old version of Sound Deck multitrack audio software I'd picked up at Egghead software in the mid 1990s. Some people call me crazy, but I have a lot of fun.