INDEX OF COMPOSERS

COMPOSERS TIMELINE

VIDEOS

TABLATURE SYSTEM

TABLATURE SAMPLES

MIDI HISTORY

SUBMIT

LINKS

ANCIENT GUITARS

typestudio login

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.

Version franaise  

typestudio login

New Sequences by Franois Faucher

Now working on: G.F. Carulli's Gran Sonata Op.25


New.gif (284 octets) G.F.Handel's Sonata 2. Allegro 3.Adagio HWV368New.gif (284 octets)


New.gif (284 octets) .J.S. Bach's  Sonata largo BWV1079 New.gif (284 octets)

New.gif (284 octets) F. Carulli's Two Russian Airs with variations Op.110New.gif (284 octets)

New.gif (284 octets) .W.A.Mozart's Symphony No.41 (Jupiter) KWV551

.New.gif (284 octets) J.S. Bach's .Sonata 2. Fugue  BWV964 New.gif (284 octets)

.New.gif (284 octets) W.A. Mozart's Theme and variations on: "La belle Franoise" K353 New.gif (284 octets)

New.gif (284 octets) W.A. Mozart's .Rondo K.511 New.gif (284 octets)


Desperate, Elara downloaded the app. She clicked the icon—a minimalist quill intersecting a geometric circle—and the screen dissolved into deep charcoal gray. Then, the Typestudio login appeared.

Her old word processor was a mess. Fonts slipped. Margins wandered. Every time she copied a bulleted list, the indentation would have a tiny, silent nervous breakdown. She needed order. She needed precision. She needed, as her friend Marco had raved about for months, Typestudio.

And then, very quietly, she closed her laptop.

Elara’s relationship with Typestudio began, as many chaotic things do, at 2:47 AM on a Tuesday. She was a freelance copywriter who survived on cold brew and the terror of looming deadlines. Her current project was a nightmare: forty-seven pages of technical jargon about hydraulic lift systems, due to a client in Singapore by 9 AM her time. She had three hours of battery left and a hotel Wi-Fi connection that flickered like a dying star.

She knew this one. The raven story had been written in a fugue state of joy. The cursor had been silver. No—wait. Typestudio let you change the cursor color based on your mood. That night, she had been listening to Nina Simone. She had set the cursor to midnight blue .

When she finished, she looked at the Typestudio icon on her dock. The quill and the circle. She right-clicked. Move to Trash. The icon vanished with a soft whoosh.

It started subtly. One Tuesday, she tried to log in. The charcoal screen appeared. The pulsing Begin . She tapped Enter . The Place field: The Inkwell . The Token field: What is remembered, lives .

She tried: The leather was supple, like a well-worn novel.

She tapped Create . A new screen unfolded, asking not for an email, not for a password, but for a Place . Not a username—a place. A word that felt like home. She hesitated, then typed: The Inkwell . Next, it asked for a Token . Not a password, but a phrase that felt like a key. She thought of her grandmother’s kitchen, the smell of cardamom and old paper. She typed: What is remembered, lives.

His reply was immediate. “That’s the Gatekeeper. It happens sometimes. You have to answer its question.”

“What question?”

But the joy was gone. The login was no longer a ritual; it was an interrogation. Over the next weeks, the Gatekeeper grew bolder. It asked for the name of the font she used for her client’s quarterly report. It asked for the exact time she had deleted a paragraph about hydraulic lift efficiency. It asked for the fifth word of the third sentence on page twelve of a document she had archived and forgotten.

A cold thread of panic wove through her stomach. She checked her Wi-Fi. Fine. She restarted the app. Nothing. She restarted her computer. Still, the login screen stared back, serene and indifferent, like a locked door.


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

Login - Typestudio

Desperate, Elara downloaded the app. She clicked the icon—a minimalist quill intersecting a geometric circle—and the screen dissolved into deep charcoal gray. Then, the Typestudio login appeared.

Her old word processor was a mess. Fonts slipped. Margins wandered. Every time she copied a bulleted list, the indentation would have a tiny, silent nervous breakdown. She needed order. She needed precision. She needed, as her friend Marco had raved about for months, Typestudio.

And then, very quietly, she closed her laptop.

Elara’s relationship with Typestudio began, as many chaotic things do, at 2:47 AM on a Tuesday. She was a freelance copywriter who survived on cold brew and the terror of looming deadlines. Her current project was a nightmare: forty-seven pages of technical jargon about hydraulic lift systems, due to a client in Singapore by 9 AM her time. She had three hours of battery left and a hotel Wi-Fi connection that flickered like a dying star. typestudio login

She knew this one. The raven story had been written in a fugue state of joy. The cursor had been silver. No—wait. Typestudio let you change the cursor color based on your mood. That night, she had been listening to Nina Simone. She had set the cursor to midnight blue .

When she finished, she looked at the Typestudio icon on her dock. The quill and the circle. She right-clicked. Move to Trash. The icon vanished with a soft whoosh.

It started subtly. One Tuesday, she tried to log in. The charcoal screen appeared. The pulsing Begin . She tapped Enter . The Place field: The Inkwell . The Token field: What is remembered, lives . Desperate, Elara downloaded the app

She tried: The leather was supple, like a well-worn novel.

She tapped Create . A new screen unfolded, asking not for an email, not for a password, but for a Place . Not a username—a place. A word that felt like home. She hesitated, then typed: The Inkwell . Next, it asked for a Token . Not a password, but a phrase that felt like a key. She thought of her grandmother’s kitchen, the smell of cardamom and old paper. She typed: What is remembered, lives.

His reply was immediate. “That’s the Gatekeeper. It happens sometimes. You have to answer its question.” Her old word processor was a mess

“What question?”

But the joy was gone. The login was no longer a ritual; it was an interrogation. Over the next weeks, the Gatekeeper grew bolder. It asked for the name of the font she used for her client’s quarterly report. It asked for the exact time she had deleted a paragraph about hydraulic lift efficiency. It asked for the fifth word of the third sentence on page twelve of a document she had archived and forgotten.

A cold thread of panic wove through her stomach. She checked her Wi-Fi. Fine. She restarted the app. Nothing. She restarted her computer. Still, the login screen stared back, serene and indifferent, like a locked door.

 

 

FLAMENCO

Paco de Lucia  ; Sabicas 

 


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

INDEX OF COMPOSERS

COMPOSERS TIMELINE

VIDEOS

TABLATURE SYSTEM

TABLATURE SAMPLES

MIDI HISTORY

SUBMIT

LINKS

ANCIENT GUITARS