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The romantic guitar eventually led to a different type of guitar in Spain: the fan-braced Spanish guitars of Torres, which may be seen as the immediate precursor of the modern classical guitar. In the 20th century, many non-guitarist composers wrote for the instrument, whereas previously only players of the instrument had done so.
Pages in category "Composers for the classical guitar" The following 172 pages are in this category, out of 172 total. This list may not reflect recent changes .
Music prior to the classical era was often composed for performance on various combinations of instruments, and could be adapted by the performer to keyboard instruments, the lute, or the guitar. Since the beginning of the 20th century, however, a significant amount of music has been written for the guitar by non-guitarist composers.
The following is a non-comprehensive list of composers who have composed original music for the classical guitar, or music which has been arranged for it. This list is sortable by name, nationality and years of birth or death.
His CD album Magical Mystery Guitar Tour, released in 2012, is dedicated to the music of the Beatles in his own arrangements for solo guitar. It went to number one on the UK iTunes Classical charts, and a track from the album reached number four in the Singles' charts.
"Litmus Distance" is a series of two small pieces for classical guitar, composed by Takashi Yoshimatsu. One of the composer's debut works, he describes it as a new kind of imagined folk music, portraying of the distance of the bedouins. [1] The sheet music for these pieces was issued together in Yoshimatsu : Guitar Works Vol. 2 : Wind color Vector.
Historically (for baroque guitars, right up to classical or romantic repertoire of Sor and Mertz) the free-stroke was used. One of the first classical guitarists to use the rest-stroke was the Spaniard Julian Arcas (1832–1882) [ 5 ] (and it may have been used by Jose Ciebra as well [ 6 ] ), though it was already in use for flamenco music.
She studied piano, violin, and conducting at the Royal Academy of Music in London from 1966 bis 1970. She moved to Germany in 1971, where she discovered the classical guitar in 1973. Her mentor Martin Nicolai, excellent guitarist, composer, viola player and painter, encouraged her to continue after first guitar compositions emerged in 1976.
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