This is Classical Guitar

Homenaje, Piece de Guitare ecrite pour Le Tombeau de Claude Debussy by Manuel de Falla (1876-1946) – PDF sheet music for classical guitar with performance and lesson video. Comes with both a notation edition with left hand fingering and a separate tab edition. The level is early-advanced work (grade 9) depending on your technique, desired tempo, and level of refinement. The tempo is slow but there are a a few tricky sections contributing to the level.

My PDF Sheet Music Edition

• Homenaje by de Falla (PDF) from Werner Guitar Editions

Manuel de Falla (1876–1946) was a Spanish composer and one of the most important figures in Spanish classical music. His works combine elements of traditional Spanish folk music, Andalusian flamenco, and French Impressionism with a distinctive harmonic language. His Homenaje, Pièce de guitare écrite pour Le Tombeau de Claude Debussy (1920) was composed in memory of Claude Debussy, whom Falla greatly admired. Written for solo guitar, the work incorporates the rhythm of the habanera, expressive harmonies, and subtle references to Debussy’s music. The piece was premiered by guitarist Miguel Llobet in 1921, who also contributed to its early performance history. Although brief, it is one of the most significant works in the early twentieth-century classical guitar repertoire.

Here’s my YouTube performance and lesson link if you need it.

Samples

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Brazilian classical guitarist Pedro Aguiar performs Sydolira by Mexican composer Gabriela Ortiz (b.1964). This comes via Aguiar’s YouTube (go subscribe). Amazing performance by Aguiar with a huge range of expressive articulations and colour over the complex textures of this work. An extraordinary performance, can’t wait to explore more of his work. This is only solo guitar work composed by Gabriela Ortiz who is a recent multiple Grammy Awards winner. Aguiar shared this quote via his Facebook page.

“I’m delighted to share this extraordinary performance of my piece Sydolira by guitarist Pedro Aguiar. I wrote this work many years ago as a tribute to my father, Rubén Ortiz. At the time, he was studying composition, playing classical guitar, and suffering from migraines. He therefore wrote a piece for solo guitar entitled Migrañas.

After my mother died at the age of just 46, my father stopped composing altogether. Years later, I found his manuscript and, when I had the opportunity to write a piece for guitar, I decided to draw upon one of the musical materials he had written.

The title Sydolira comes from a play on words between Sydolil, the medication my father took for his migraines and, as I remember, never left home without, and lira, referring to the instrument and to music.

In this way, Sydolira became a way of entering into a musical dialogue with my father and keeping his memory alive.” – Gabriela Ortiz

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Question: How do I know what tempo a composer intends for their piece to be played?

Answer Summary: Tempos are often chosen based on the context of its presentation and through an awareness and analysis of various musical elements. The title, indications, texture and style, technique, music theory analysis, historical awareness, and research on the work or composer can offer many clues. There are also considerations of who is playing the work and whether the intended tempo is appropriate for the player to strive for. In the article below I cover the various elements involved in choosing a tempo.

Here’s the YouTube lesson link for the above video if needed.

The Title and Indications

There are many titles and indications that give you hints on a tempo range. The title itself can sometimes give clues, a lullaby usually will not be played so fast as to feel caffeinated! Whereas Flight of the Bumblebees implies some intensely fast busy work. A minuet in the Baroque era for example, was a graceful dance in triple meter so the tempo should be somewhat moderate and poised rather than fast. Maybe that puts the quarter note at 80–110 as a possible range but it also depends on the character of the piece and if there are movements around. Obviously tempo markings such as allegro indicate fast and largo slow.

An important distinction here is beat, pulse, and rhythms. Although a time signature might indicate a beat, the actual feel of the pulse can be the deciding factor. For example, in some music there might be three beats in a measure but we only really feel the the first beat. That first beat could be the tempo setter. Similarly, the beat or pulse can sometimes be very slow but the rhythms be busy and perceived as fast. A slow beat can feel quite different if there are continuous 32nd notes being played.

Texture and Style

The texture of the music may be a deciding factor for tempo allocation as well. A thick busy texture can only go so fast so there are limitations on speed. The style of the work is also important. Style can mean anything from historical awareness to set moods. A meditative piece likely has a style, as does an awareness of the impressionist composers. A fugue might demand voice independence as a top musical priority that overpowers tempo considerations.

Technique

There are always limitations to tempos based on the technique involved. A complex fugue by Bach may not be technically possible to play fast compared to a single running scale passage. Students often have to let their technique decide the limitations of a tempo so they can play well. An important thing to remember is that when tempo is reduced, other musical elements can be increased. So it’s not a bad thing to be limited by your technique, it may just require a different approach and reprioritizing of the musical elements in a performance.

Theory & Historical Awareness

There are many clues to tempos found in music theory and history from dance movements, to individual aesthetics of a composer, to era-specific awareness. Most students studying in a music school will take music theory and history lessons that include listening to and learning about music from all the musical eras. This brings with it a great awareness of style and tempo choices. School aside, listening to music can teach you a lot about tempos. For example, the Baroque Suite has a set of dance movements that were somewhat standardized and by listening to various recordings or Preludes, Allemandes, Courantes, Sarabandes, Bourrees, and Gigues, you start to form an awareness of choices you have.

Flexibility

Although tempos should be informed by the above factors, tempos are a flexible and interpretive choice as well. Different performers will have different goals with a work of music and that can result in a variety of different tempo choices. That is part of the joy of hearing different interpretations. Along with a different tempo choice comes a slightly different mood or emphasis on certain musical elements.

Recommendation

Listening to professional performances along with a score can give you a great education on tempo interpretation. Pick a piece of music (or the music you are playing) and find five different performances of it. Look at the title and indications, consider the musical era, get interested in the interpretive choices made by the performer. Over time you will build a an awareness of stylistically appropriate tempos for certain works and the vast variety of interpretations.

Another great thing to do is to experiment with tempos to discover the result. If you can play for other musicians and teachers they can give you feedback on the results.

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Luke Anderson & Lenny Ranallo perform Rêverie by Claude Debussy (1862-1918), arranged for two guitars by Peter Batchelar (originally for piano). This comes via Matthew McAllister’s Gallery of Guitar on Youtube (go subscribe). Beautiful lingering phrases and excellent ensemble cohesion from Anderson and Ranallo. Debussy’s Rêverie (L. 68) is an early piano work composed around 1890. Rêverie meaning daydream or lost in thoughts reflected the music with its gentle and contemplative character.

Looking for Duo Sheet Music?

• Ensemble Music (Duets, Quartets, More) – Dedicated Page for All Ensemble Music
• Satie: Enfantillages Pittoresques, Modern, Intermediate Duet 
• Munier: Romanza & Barcarola Op.262, Romantic Duet, Grade 4
• Dowland: My Lord Willoughby’s Welcome Home & My Lord Chamberlain, His Galliard, Renaissance lute duets for 2 guitars, late-intermediate-advanced
• Milano: Canone & Spagna, Renaissance lute duet for 2 guitars, intermediate

The post Anderson-Ranallo Perform Rêverie by Debussy first appeared on This is Classical Guitar.

New classical guitar albums, editions, gear, compositions, and more for 2026. Submit your content but beware that only a few submissions a year will make the list. I get tons of submissions but due to time constraints it’s pretty much a lottery! Email: bradford@thisisclassicalguitar.com

Toward the Sea – Emi Ferguson (Flute) & Michael Poll (Guitar)
Toward the Sea by Toru Takemitsu, Histoire du tango by Astor Piazzolla, Altair by Elizabeth Ogonek.
Listen or learn more via Toward the Sea (Album)

Finnissy and the Guitar – Complete Works (1966–2022)
2026 First Hand Records | Buy & Listen at Presto | Read a Gramophone Review.

Anthology of Women Composers for the Classical Guitar, Vol. 1 by Eva Beneke and Heike Matthiesen (Editors). This anthology presents 20 pieces by women from the 16th century to today.
Find it at Schott Music Group.

Tiento by Brendan Evans – Tiento, the debut solo album of classical guitarist Brendan Evans. works by Milano, Maza, Nin-Culmell, Lauro, Ohana, and Bogdanovic. Green Flash Music.
Album Info: Brendan Evans, Listen on Spotify, Green Flash Music

Guitar America 250 by Aaron Larget-Caplan (Navona Records). Traditional songs from the Civil to World Wars, Classical works by Bernstein, Berlin, Price (violin-guitar), Hovhaness, Cage, and new works by David Liptak, Ian Wiese, and Paul Simon and Eddie Van Halen. Album info here.

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Juyeong Bae performs Songe Capricorne by Roland Dyens (1955–2016). This comes via Partita Studio in Seoul, South Korea on their YouTube channel (go subscribe). This a great performance to study contrasts in musical expression. Each phrase has very specific articulation, dynamics, accents, and colour choices.

As Dyens mentions in his score from Editions Henry Lemoine:

I have to admit to a sneaking liking for this Capricorn dream which, for the price of re-tuning your A string to B, will whisk you off to a new but friendly world, very different from our everyday environment. Here bells ring out, arpeggios and harmonics cascade like waterfalls, all blending in an evocation of the harp, where the sounds of today and modal memories of yesterday join in friendly rivalry. – Roland Dyens

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Canadian guitarist Jérôme Ducharme performs Prelude, Fugue & Allegro, BWV 998 by Johann Sebastian Bach (1685-1750) on a René Wilhelmy classical guitar. This comes via Canadian luthier René Wilhelmy’s YouTube channel (go subscribe).

I really enjoyed the very rhythmic and well paced prelude performance. I love this prelude played freely or more with a bit more refined structure as heard here with very controlled articulation and placement of the main pulse.

The release dates for the rest of the movements are:
Fugue — September 29
Allegro — October 13

I’ll update this post as they are released.

Sheet Music Editions of Bach

If you enjoyed this performance maybe you’d like to check out editions of Bach sheet music with videos.

• Suite in E Minor BWV 996 by Bach (Complete), Advanced
• Cello Suite No.2, BWV1008 by Bach (Complete), Early-Advanced
• Bouree from BWV 996 by Bach, Grade 6, Free
• Prelude in D minor, BWV 999 by Bach, Grade 7
• Prelude, Cello Suite BWV 1007 by Bach, Grade 7
• Prelude in E Major, Lute Suite BWV1006a – Advanced
• Air ‘On the G String’ BWV 1068 by Bach, Grade 4
• Bist du bei mir (Be thou with me) by Bach & Stölzel, Grade 6
• Jesu, Joy of Man’s Desiring BWV 147 by Bach, Grade 4
• Minuet in G, Anh.114 by Bach/Petzold, Grade 4
• Sheep May Safely Graze, BWV 208 by Bach, Grade 6
• Sinfonia (Arioso) from Cantata BWV 156 by Bach, Grade 5

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Hungarian classical guitarist Zsombor Sidoo performs Violin Sonata No.2, BWV 1003 by Johann Sebastian Bach (1685-1750) played on a Bernhard Kresse Stauffer Model 2011. Movements include Grave, Fuga, Andante, and Allegro. This comes via Sidoo’s YouTube channel (go subscribe). 

Amazing performance with excellent pacing throughout and careful motivic attention. Bach’s Sonata No.2 was composed for solo violin and includes a monumental fugue that is exceptionally long and substantial, running 289 measures and standing as one of Bach’s most extended fugues for a solo instrument.

Sheet Music Editions of Bach

If you enjoyed this performance maybe you’d like to check out editions of Bach sheet music with videos.

• Suite in E Minor BWV 996 by Bach (Complete), Advanced
• Cello Suite No.2, BWV1008 by Bach (Complete), Early-Advanced
• Bouree from BWV 996 by Bach, Grade 6, Free
• Prelude in D minor, BWV 999 by Bach, Grade 7
• Prelude, Cello Suite BWV 1007 by Bach, Grade 7
• Prelude in E Major, Lute Suite BWV1006a – Advanced
• Air ‘On the G String’ BWV 1068 by Bach, Grade 4
• Bist du bei mir (Be thou with me) by Bach & Stölzel, Grade 6
• Jesu, Joy of Man’s Desiring BWV 147 by Bach, Grade 4
• Minuet in G, Anh.114 by Bach/Petzold, Grade 4
• Sheep May Safely Graze, BWV 208 by Bach, Grade 6
• Sinfonia (Arioso) from Cantata BWV 156 by Bach, Grade 5

The post Zsombor Sidoo Plays Sonata No. 2 (BWV 1003 by Bach first appeared on This is Classical Guitar.

Question: What is the best position for the music stand when playing classical guitar?

Answer summary: The best music stand position depends on whether you are performing or practicing and involves many variables such as ergonomics and visual sight lines. In general, a position slightly toward your left and high enough that you do not have to bend your neck or arch your back in order to see the music is ideal. Below I give you a strong recommendation and then explore the variables in more depth.

Here is the YouTube video link in case you need it.

Ideal Music Stand Position for Home Practice

When practicing at home you can prioritize ergonomics and convenience. You can even adjust the stand to help correct, or at least encourage, posture and position issues.

Horizontal position: Adjust the music stand so you can see both the music and your left hand in your peripheral vision. This will help you avoid looking back and forth from the music to your hand. Don’t move it so far that your neck is bent and turned to the left, have it center left so your eyes can see a bit of both the music and your left hand.

Vertical position: You should adjust the music stand to be high enough that you do not have to bend your neck or arch your back in order to see the music. In fact, for student with bad posture I often raise it so they need to straighten out in order to see the music.

Visual acuity: Depending on your eyes and vision you may need the stand closer or further to see the music clearly. When sight reading I need it a bit closer but when playing something I know well the music can be further away as I’m using it almost as a guide.

Music Stand Position When Performing

When performing you want a clear line of sight between the audience and your guitar and body. This is important to the audience, they came to see and hear you. You also don’t want the music stand to block the sound that is directed at your listeners. Therefore, the music stand is often quite low. It should be low enough that the audience can see your guitar and hands clearly.

When playing music we know well this is usually fine as we have it half memorized anyway and are using the score more as a guide. When sight reading or playing ensemble music compromises must be made depending on your visual acuity.

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Bradford Werner performs Studio No.15 – Canto di primavera (Omaggio a Igor Stravinskij) from Studi di virtuosità e di trascendenza by Angelo Gilardino (1941-2022) on classical guitar. This comes via my YouTube channel. Published by Editions Bèrben. The sheet music edition can be found via Bèrben (Edizioni Curci).

This video was performed on a Marcus Dominelli classical guitar with Augustine Regal strings and a Le Support “Voyager” guitar support. See all my gear here.

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Carreiro-Williams Guitar Duo with Jose Carlos Carreiro and Torrin Williams perform Preludio from Violin Partita No.3 in E major, BWV 1006 by Johann Sebastian Bach (1685-1750), arranged by Sergei Rachmaninoff (1873-1943), and then arranged again by Torrin Williams. This comes via their YouTube channel (go subscribe). They also have a score available.

An arrangement of an arrangement! Great performance and a joy to hear the well-known work reimagined. Very intricate and well worked out performance.

Looking for some Bach to Play? Check out some of these works with sheet music, video performance, and lessons.

• Suite in E Minor BWV 996 by Bach (Complete), Advanced
• Cello Suite No.2, BWV1008 by Bach (Complete), Early-Advanced
• Bouree from BWV 996 by Bach, Grade 6, Free
• Prelude in D minor, BWV 999 by Bach, Grade 7
• Prelude, Cello Suite BWV 1007 by Bach, Grade 7
• Prelude in E Major, Lute Suite BWV1006a – Advanced
• Air ‘On the G String’ BWV 1068 by Bach, Grade 4
• Bist du bei mir (Be thou with me) by Bach & Stölzel, Grade 6
• Jesu, Joy of Man’s Desiring BWV 147 by Bach, Grade 4
• Minuet in G, Anh.114 by Bach/Petzold, Grade 4
• Sheep May Safely Graze, BWV 208 by Bach, Grade 6
• Sinfonia (Arioso) from Cantata BWV 156 by Bach, Grade 5

The post Carreiro-Williams Guitar Duo Perform Preludio BWV1006 by Bach first appeared on This is Classical Guitar.

Liying Zhu performs the second movement, Passacaglia from Tres Piezas Españolas by Spanish composer Joaquín Rodrigo (1901-1999). This video comes via GuitarCoop and their YouTube Channel (go subscribe). Excellent performance by Liying Zhu with great phrasing, colour and texture control. In particular, her ability to bring out the theme even in the most complex passages is a joy to hear.

Looking for Spanish Repertoire?

Check out our Spanish Classical Guitar Sheet Music along with video performance sand lessons.

The post Liying Zhu Performs Passacaglia by Rodrigo first appeared on This is Classical Guitar.

Question: Why can’t I play with a metronome? I don’t know why but find it to be distracting. I have tried the clicking ones and the blinking lights. Tapping my foot also distracts me. 

Answer Summary: Playing with the metronome is something that sometimes needs progressive practice to develop the skill in a natural way rather than just turning it on and playing your pieces. The main advice here is that you want to feel the beat internally and then play along with that internal beat rather than trying to beat-match with precision.

Start simple by learning to tap your foot to music and then progress to playing open strings to the beat of music. When you start using the metronome begin with simple exercises and even rhythmic divisions. You want it to feel natural, relaxed, and casual so a slow progressive plan is helpful. Let’s explore this in more detail below with a 10 step plan. Don’t move to the next step until you feel confident.

How to Play with a Metronome – Video Lesson

Here’s the YouTube lesson link in case you need it.

Step 1: Tap your foot to music

Start by listening to some pop music with a regular beat. Don’t put on classical music yet, try something easier and obvious with drums and a consistent beat such as the Beatles or equivalent. Learn to tap your foot and clap to the music in a relaxed and natural way. Don’t worry about being precise, just feel the music first and then start tapping.

The goal is to make it a natural experience. For example, when sitting at the table eating lunch with music on, without thinking about it, you start tapping your foot to the music. That is the natural feel we are after. You want to reproduce that natural infusion of the beat in your body to your practice room sessions.

Try this with a variety of different popular styles of music that have a strong and obvious beat.

Step 2: Play an open string to the same music

Once you feel comfortable tapping along with the music, grab your guitar and play an open string instead of tapping your foot. Use the same music you were listening to before. The way you were tapping before, play the open string in the same way. It doesn’t matter if the pitch matches or not, you just want to feel the beat rather than try to match it intellectually.

If you have trouble, try tapping the beat with your foot eight times followed by playing the open string eight times. Playing the string is just another way of tapping. You can experiment with tapping to the beat with only your index finger on a table or the top of the guitar first.

Step 3: Play an open string and tap to the same music

Now try tapping your foot and playing an open string to the beat while listening to the music. Remember to feel the music first and then start tapping. You don’t want to try to beat-match with precision, instead, just casually feel the beat for awhile and then begin. Again, start with just tapping and then add the playing. You’ll be tapping and playing at the same time.

Step 4: Tap to the metronome

Set the metronome to approximately the same tempo as the music you were listening to; anything close is fine. Pretend the metronome is a wonderful piece of music, feel the beat and tap to it. Don’t beat-match, just listen to it and start tapping in a relaxed and casual way. We want this to feel like Step 1: natural, relaxed, and casual.

Step 5: Play an open string with the metronome

Similar to Step 2, play an open string to the beat. Feel the beat first as if the metronome was a pop song and then start playing. If you start trying to beat-match you aren’t feeling the beat. Stop and go back to a previous step.

Step 6: Tap and play with the metronome

Similar to Step 3, tap your foot along with the metronome beat and add the playing of the open string simultaneously. You’ll be tapping and playing at the same time on each click. If you can’t do this, go back to a previous step. Remember, feel the beat first, the way you did in step 1, and then start.

Step 7: Tap and Play rhythmic figures with the metronome

This step is very important. You want to feel the beat but play various rhythms over it. Start very simple and then progress to a variety of rhythms. You may have to stay on this step for a few weeks or months (I still do this everyday with scales and other technique exercises).

Start with tapping the beat with your foot as quarter notes and playing eighth notes on an open string.

Try with triplets

Try sixteenths

Variation with Tap

Dotted Figure with Tab

Repeat all with tapping your foot to the beat and playing the various rhythms.

Step 8: Play simple technique exercises with the metronome

You can now progress to playing simple technique exercises with the metronome. Start with something simple such as a one octave scale playing each note on the beat. You can then try playing the scale in eighth notes, triplets, and sixteenth notes. Even try dotted figures.

The reason you want to use an exercise is that you may not be ready for the variety of rhythms encountered in repertoire. Exercises are usually short, consistent, and can be looped (repeated).

Step 9: Play beginner method book pieces with the metronome

You’ve made it! You can now play with the metronome but don’t push your multitasking abilities too far too fast. For 5 mins a day play a beginner method book piece with the metronome. This is have more rhythmic and playing variety than an exercise.

Step 10: Work your way up to your level

Slowly playing more challenging pieces with the metronome during a dedicated part of your practice session. For example, if you are a grade 3 player, play a few pieces from grade 1 and then a few from grade 2. This might take days or it might take months but just do it for 5 minutes a day as a dedicated skill building session.

Support

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Finnish lutenist Tuomas Kourula along with sopranos Anneliina Rif and Maikki Säikkä performs Ohimè, dov’è il mio ben? (SV 140) by Claudio Monteverdi (1567–1643) via the Turku Early Music Society and their YouTube channel. Beautiful performance by Kourula and love vocal duet with theorbo, both visually and musically here. “Ohimè, dov’è il mio ben” (SV 140) is a famous vocal duet composed by Claudio Monteverdi and published in his Seventh Book of Madrigals (Il settimo libro de madrigali) in Venice in 1619.

Here’s the YouTube description:

When Monteverdi writes a duet, you know it’s going to be something extraordinary. This one has for long been one of our favourites, and we have performed it in many concerts over the years. It’s difficult to say exactly why we like it so much – it probably has to do with the beauty of the dissonances and their resolutions, and the way tension keeps mounting until the end, and the great release in the concluding bars.

“Ohimè” is based on the ancient Romanesca ground or chord progression, but it is here so stretched out and modified that it may be difficult to notice this just by listening. Still, the connection to this well-known ground lends a strong foundation to the duet, giving it structure. We thank the Maaria parish in Turku for the opportunity to film in their church!

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Duo Melis with Susana Prieto from Spain and Alexis Muzurakis from Greece perform the world premiere of Firelit Ascent by Tudor-Mihai Gliga. This comes via Siccas Guitars and their YouTube channel (go subscribe). It’s been awhile since I’ve seen a Duo Melis video and it’s a pleasure as always. Very colourful performance with intricate ensemble work.

Check out the new duo and ensemble sheet music page Ensemble Music (Duets, Quartets, More). You’ll find plenty of beginner to late-intermediate ensemble works to explore and play yourself.

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Study No.4, Op.40 [Moonlight Study] by Leonard Schulz (1813-1860) from Exercises and Studies for the Guitar, “The Indispensable”. PDF sheet music for classical guitar with performance and lesson video. Comes with both a notation edition with left hand fingering and a separate tab edition. The level is mid-intermediate (grade 7, or 5-8 range) depending on your technique, desired tempo, and level of refinement. The tempo is slow but there are a good amount of chord changes while focusing on the melodic line.

My PDF Sheet Music Edition

• Study No.4, Op.40 by Schulz from Werner Guitar Editions

The reference to the Moonlight Sonata, Piano Sonata No. 14 in C♯ minor, Op. 27, No. 2 by Ludwig van Beethoven (1770-1827) is purely editorial due to the similar texture and harmonies of the opening section. Schulz makes no mention of the sonata or Beethoven and quickly differentiates the work in the melodic major key section. Maybe I’ve made too much of the reference but I believe many listeners would immediately hear it during the first section so I took the leap and nicknamed it.

Leonard Schulz (1813–1860) was an Austrian guitarist, composer, and celebrated virtuoso of the Romantic era. Born in Vienna, he began performing as a child and toured Europe with his musical family, appearing in London, Paris, and other major centres. Schulz eventually settled in London and composed more than one hundred works for guitar, including études, arrangements, and concert pieces. 

Samples

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Jack Hancher performs the 4th movement, IV. Final: Allegro con Brio from Sonata by Antonio José (1902-1936). Filmed on location in London, England via the Omni Foundation series and their Youtube channel. Brilliant performance by by Hancher with such contrasts from the high intensity extroverted virtuosity to beautifully phrased melodic work.

Antonio José’s Sonata for Guitar (1933) is one of the major Spanish guitar works of the early 20th century. Written in four movements, it combines Spanish musical character with sophisticated harmony, lyrical melodies, and substantial technical demands. The work was composed for guitarist Regino Sáinz de la Maza and has since become an important part of the modern classical guitar repertoire. This was José’s only work for guitar, composed in 1933. Maurice Ravel apparently said of Antonio José: “He will become the Spanish composer of our century”. You can see my larger post on it here.

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