Sample Recordings

Brazil:
Roberto Baden Powell 
Canto de Ossanha 
Heitor Villa-Lobos 
Chôro No. 1 


Germany:
J.S. Bach 
Gavotte en Rondeau 
Fugue BWV 1000^*
Johann Pachelbel 
Canon in D 


Ireland:
John Sheahan 
Marino Waltz (arr. Dermot Ryan) 
Traditional 
Danny Boy (arr. Martin Grayson) 
Turlough O'Carolan 
Planxty Irwin (arr. John Loesberg) 
Traditional 
She Moved Through the Fair (arr. John Loesberg) 


Italy:
Mauro Giuliani 
Variations sur les Folies d'Espagne^*
Ferdinando Carulli 
Duo in G, Op. 34: Largo, Rondeau⁺ 

Paraguay:
Agustín Barrios 
La Catedral 1^* 2^* 3^*


Romania:
Vladimir Cosma 
David's Song⁺


Spain/Catalonia:
Francisco Tárrega 
Recuerdos de la Alhambra ^*
La Alborada  
Lágrima  
Alonso Mudarra  
Fantasía que contrahaze la harpa en la manera de Luduvico ^*
Traditional 
El testament d'Amèlia (arr. Miguel Llobet) ^*
Anonymous 
Romanza
Manuel de Falla 
La Danza del Molinero (arr. Timothy Kain)
Isaac Albéniz 
Asturias (Leyenda) (arr. Andrés Segovia)


United Kingdom:
Stanley Myers  
Cavatina (Theme from The Deer Hunter) (arr. John Williams) 
Benjamin Britten  
Nocturnal 1^* 2^* 3^* 4^* 5^* 6^* 7^* 8^* 9^*
Lennox Berkeley  
Sonatina 1^* 2^* 3^*

Venezuela:
Antonio Lauro  
El Marabino 
Vals Venezolano 1 
Vals Venezolano 2 
Vals Venezolano 3 
Vals Venezolano 4 


+ - Multitracked guitars. See Notes section below.
* - recorded by "direct injection". See Notes section below.



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Notes

These recordings were made at home, using one of two methods.

The first method was playing an Alvaro electric classical guitar, plugged straight into the Line-In of the soundcard of a laptop, and storing the sound straight to the hard drive using CFBSoftware's LP Recorder application. The end result is clean, but rather dry. One might describe it as a little unguitarlike. This is inevitable, given that the sound is essentially the sound inside the guitar, very closely miked, and lacking room echo, among other natural effects one associates with a guitar performance. These older recordings are marked above with an asterisk.

The second method, the one I currently use, is to record one of my two handmade guitars with a Zoom H2 Handy Recorder, placing the mic about 30-40cm in front of the guitar. These recordings sound warmer and more natural.

The two handmade guitars are a spruce guitar, built by Russel Fong in 1987, and a cedar guitar, built by Nicholas Ioannou in 1988.

All recordings are either one-take, or very lightly edited using Audacity sound-editing software, except for the tracks marked "+", which are the product of overlaid guitar tracks.

Before I used Audacity, I used Windows' built-in Sound Recorder application for editing purposes.