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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The book is thick. Heavy. You feel the weight of the paper and the weight of the ambition. Between these covers lies the visual language of the 20th century’s most obsessive project: to strip away the ornament, to kill the serif, to reduce the human condition to a perfect, repeatable mark.
Modernism was a philosophy of hygiene. It was born from the trenches of World War I, a reaction to the chaotic, floral, "irrational" past. Designers like Müller-Brockmann and Rand believed that if you could just make the signage clean enough, the world would follow suit. The logo became a talisman against entropy. A solid black circle was a promise of wholeness. A rigid grid was a promise of stability.
Flipping through these pages is an exercise in melancholic archaeology. You see the "P" for a Pan Am that no longer flies. The bold "K" for a Kodak that no longer develops. The interlocked rings for a steel conglomerate that has been dissolved and sold for parts. These logos are beautiful in the way a Greek statue is beautiful: perfect, limbless, silent. They are survivors of a shipwreck, washed ashore with their geometry intact but their meaning eroded by salt water.
This is the tragedy hidden in plain sight on every page of Logo Modernism .
So, you close the book. You run your hand over the cover. The weight of those 6,000 marks settles into your chest. You realize that Logo Modernism is not a design textbook. It is a book of elegies. It is a graveyard of optimism, arranged by color plate and page number. And the saddest part? The logos are still perfect. The world just wasn't.
Because in an era of skeuomorphism, gradients, drop shadows, and AI-generated chaos, Logo Modernism is a prayer for clarity. We look at those stark, black shapes and we feel a nostalgic ache for a time when a logo had to fit on the side of a freight train, not the icon of a smartphone app. A time when "branding" was about identity, not algorithmic engagement.
And yet, we keep coming back to the book. We keep buying it. It sits on coffee tables in Brooklyn lofts and Tokyo design studios. Why?
Composers are grouped in 6 pages: A-B;
C-F;
G-L;
M-O;
P-R; S-ZÂ .
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
The book is thick. Heavy. You feel the weight of the paper and the weight of the ambition. Between these covers lies the visual language of the 20th century’s most obsessive project: to strip away the ornament, to kill the serif, to reduce the human condition to a perfect, repeatable mark.
Modernism was a philosophy of hygiene. It was born from the trenches of World War I, a reaction to the chaotic, floral, "irrational" past. Designers like Müller-Brockmann and Rand believed that if you could just make the signage clean enough, the world would follow suit. The logo became a talisman against entropy. A solid black circle was a promise of wholeness. A rigid grid was a promise of stability. logo modernism pdf
Flipping through these pages is an exercise in melancholic archaeology. You see the "P" for a Pan Am that no longer flies. The bold "K" for a Kodak that no longer develops. The interlocked rings for a steel conglomerate that has been dissolved and sold for parts. These logos are beautiful in the way a Greek statue is beautiful: perfect, limbless, silent. They are survivors of a shipwreck, washed ashore with their geometry intact but their meaning eroded by salt water. The book is thick
This is the tragedy hidden in plain sight on every page of Logo Modernism . Between these covers lies the visual language of
So, you close the book. You run your hand over the cover. The weight of those 6,000 marks settles into your chest. You realize that Logo Modernism is not a design textbook. It is a book of elegies. It is a graveyard of optimism, arranged by color plate and page number. And the saddest part? The logos are still perfect. The world just wasn't.
Because in an era of skeuomorphism, gradients, drop shadows, and AI-generated chaos, Logo Modernism is a prayer for clarity. We look at those stark, black shapes and we feel a nostalgic ache for a time when a logo had to fit on the side of a freight train, not the icon of a smartphone app. A time when "branding" was about identity, not algorithmic engagement.
And yet, we keep coming back to the book. We keep buying it. It sits on coffee tables in Brooklyn lofts and Tokyo design studios. Why?
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Note to MIDI sequence contributors
Your submissions are welcomed.Â
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.Â
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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. Â
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.Â
Last update: March 8 2026
Copyright François Faucher 1998-2025
G.F.Handel's Sonata 2. Allegro
3.Adagio HWV368