Sueno (Mazurca) by Francisco Tarrega

Sueno (Mazurca) Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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El Columpio by Francisco Tarrega

El Columpio by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Sueno (Tremolo) by Francisco Tarrega

Sueno (Tremolo) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 4 (Estudio en Arpegios) by Francisco Tarrega

Estudio No 4 (Estudio en Arpegios) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 3 in A by Francisco Tarrega

Estudio No 3 in A by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 7 by Francisco Tarrega

Estudio No 7 (Estudio sobre un fragmento de Beethoven) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 9 by Francisco Tarrega

Estudio No 9 (en la mayor) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 8 (Sobre un fragmento de Mendelssohn) by Francisco Tarrega

Estudio No 8 (Sobre un fragmento de Mendelssohn) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Estudio No 11 by Francisco Tarrega

Estudio No 11 (Estudio inspirado en J.B. Cramer) by Francisco Tarrega (1852-1909)

Francisco Tarrega Tárrega is considered to have laid the foundations for 20th century classical guitar and for increasing interest in the guitar as a recital instrument. Tárrega preferred small intimate performances over the concert stage. Some believe this was because he played without the nails needed for volume. Others say this was related to his childhood trauma.

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Ave Maria (Bach Gounod) by Franz Schubert

Ave Maria (Bach Gounod) arranged by Francisco Tarrega (1852-1909)

Francisco Tarrega The piece consists of a melody by the French Romantic composer Charles Gounod especially designed to be superimposed over the Prelude No. 1 in C major, BWV 846, from Book I of J.S. Bach’s The Well-Tempered Clavier, written some 137 years earlier. Transcribed for the guitar by Francisco Tarrega

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