Jorge Cardoso · from 24 Piezas Sudamericanas
Uruguayan milonga — a modern guitar staple.
Johann Pachelbel · P. 37 · Canon and Gigue
Ground bass and three canonic voices.
Johann Sebastian Bach · BWV 996 · Lute Suite in E minor
Two voices in conversation — a guitar rite of passage.
J.S. Bach / arr. August Wilhelmj · from Orchestral Suite No. 3, BWV 1068
Long line, quiet hands.
Francisco Tárrega / traditional · Andalusian · after the Málaga fandango
Spanish color in open position — the student gateway to “Spanish guitar.”
Anonymous · Romance Anónimo · Romance de Amor
The mysterious arpeggio study everyone knows.
Antonio Lauro · Vals Venezolano No. 3 · Vals Criollo
A Venezuelan waltz — the piece guitarists mean by “Natalia.”
Agustín Barrios Mangoré · Barcarola
A barcarolle in 6/8 — lyric, unhurried, all about tone.
George Frideric Handel · Suite No. 7 · HWV 432
Ground bass variations from the G-minor keyboard suite.
Franz Liszt / Niccolò Paganini · Grandes études de Paganini · No. 3
The bell étude — high, fast, and famous.
Franz Liszt · S. 541/3 · Notturno
The familiar love-dream nocturne.
Franz Schubert · D. 957 No. 4 · Schwanengesang
Schubert’s serenade — the one everyone recognizes.
Johann Sebastian Bach · BWV 565
The organ drama — opening flourish and fugue.
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3/4 against 6/8 under the fingers — don’t flatten the into a polite waltz.
Lauro’s third Venezuelan waltz, named for his daughter. Brought wide through Alirio Díaz; now a Latin-American guitar staple with European waltz shape and local .
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