Welcome to the fantastic world of classical guitar. In this site, you will find classical guitar pieces, in midi format, for one and more guitars: actually 5641 MIDI files from 96 composers. Information on how to create midi files and a tutorial on the tablature notation system is presented. Images of ancient guitars provided.
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Jenna took a deep breath, adjusted her headphones, and smiled.
Jenna muted her mic and said a word that would require its own subtitle: [BLEEP].
Jenna, a 29-year-old subtitler for the network, stared at her screen in horror. She wasn't in a soundproof booth. She was wedged into a storage closet between a broken floor buffer and a box of expired network swag. Her rig was a laptop, a pair of gaming headphones, and a foot pedal that looked like it had survived a war.
This was spot subtitling—the high-wire act of live captioning. No scripts. No replays. Just her ears, her fingers, and a two-second delay between a singer’s mouth and 1.2 million living room screens.
This song is for my brother— He taught me to listen when the world got loud.
Back to the chaos. But now, it meant everything.
“This song is for my brother,” the singer whispered. “He taught me to listen when the world got loud.”
“Okay, Jenna,” she whispered, cracking her knuckles. “Focus. No more cheese.”
Jenna’s fingers slowed. She didn’t just transcribe—she felt the pacing. She added a soft line break. A dash for the intake of breath.
Jenna blinked away the sting in her eyes. Then the next act started: a German techno duo whose lead singer decided to freestyle in a mix of Bavarian dialect and beatbox.
A slow ballad began. A young woman in a silver dress sat at a piano. The camera caught her tearing up. Jenna leaned in. No heavy accents. No distorted guitars. Just pure, simple English.
Jenna had a choice: flag the error, which would put a [unintelligible] tag on screen and annoy the deaf viewers, or guess. She never guessed.
Composers are grouped in 6 pages: A-B;
C-F;
G-L;
M-O;
P-R; S-Z .
J.-S.
Bach , A.
Barrios Mangore , N. Coste
, M. Giuliani , F.
Sor and F.
Tarrega are on their own page
Click here
to listen to 20 great MIDI from the site
Composers in alphabetical order
Jenna took a deep breath, adjusted her headphones, and smiled.
Jenna muted her mic and said a word that would require its own subtitle: [BLEEP].
Jenna, a 29-year-old subtitler for the network, stared at her screen in horror. She wasn't in a soundproof booth. She was wedged into a storage closet between a broken floor buffer and a box of expired network swag. Her rig was a laptop, a pair of gaming headphones, and a foot pedal that looked like it had survived a war.
This was spot subtitling—the high-wire act of live captioning. No scripts. No replays. Just her ears, her fingers, and a two-second delay between a singer’s mouth and 1.2 million living room screens. spot subtitling
This song is for my brother— He taught me to listen when the world got loud.
Back to the chaos. But now, it meant everything.
“This song is for my brother,” the singer whispered. “He taught me to listen when the world got loud.” Jenna took a deep breath, adjusted her headphones,
“Okay, Jenna,” she whispered, cracking her knuckles. “Focus. No more cheese.”
Jenna’s fingers slowed. She didn’t just transcribe—she felt the pacing. She added a soft line break. A dash for the intake of breath.
Jenna blinked away the sting in her eyes. Then the next act started: a German techno duo whose lead singer decided to freestyle in a mix of Bavarian dialect and beatbox. She wasn't in a soundproof booth
A slow ballad began. A young woman in a silver dress sat at a piano. The camera caught her tearing up. Jenna leaned in. No heavy accents. No distorted guitars. Just pure, simple English.
Jenna had a choice: flag the error, which would put a [unintelligible] tag on screen and annoy the deaf viewers, or guess. She never guessed.
Note to MIDI sequence contributors
Your submissions are welcomed.
Please send them by e-mail (end of text). Pieces
should bear the composer's name and be properly identified.(ex.: J.K. Mertz (1806-1856) Nocturne
Op.4 No.2.). The submissions
should bear information on the transcriber or arranger when available. The submitter's name
will appear beside the accepted submission.
This site exists primarily to showcase pieces written for the classical
guitar. Established and recognized transcriptions and arrangements (e.g.,
Tarrega, Segovia,..) of pieces written by non-guitar composers will also be given
high priority.
New compositions for the classical guitar are also welcomed. New
compositions that meet quality guidelines will be added to the site. For
new contributors, it would be appreciated if you would also submit several
pieces by known composers in addition to your own compositions. This will
help to expand the repertoire of established works for the classical guitar in
addition to expanding the repertoire of new music.
Last update: March 8 2026
Copyright Franois Faucher 1998-2025
G.F.Handel's Sonata 2. Allegro
3.Adagio HWV368