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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One cannot discuss ELDERBORN without its soundtrack. The heavy metal score isn't just background noise; it acts as a metronome for the combat. The aggressive riffs sync with the high-intensity encounters, driving the player into a "flow state" where the movement, the parrying, and the music become a singular, bloody dance. Conclusion: More Than the Sum of Its Parts
The world of ELDERBORN —the City of Jurmum and its surrounding catacombs—is a vertical labyrinth. The game eschews traditional quest logs for environmental storytelling.
Most first-person games treat melee combat as "floating" or "floaty," where weapons feel like sprites passing through air. ELDERBORN counters this with a sophisticated physics-based feedback system.
Every swing of a hammer or thrust of a spear has a wind-up and a recovery. Version 1.09 ensures that the "crunch" of steel meeting bone is backed by frame-perfect hitstop and screen shake, making the player feel the literal weight of their barbarian heritage.
The interconnectedness of the maps rewards exploration. Finding a lever that opens a gate back to a "Fountain of Essence" (the game’s version of a bonfire) provides that classic sense of relief found in high-stakes dungeon crawlers. 3. The RPG Layer: Essence and Evolution
Taking a page from Dark Messiah of Might and Magic , the kick is a primary tool. It isn't just for damage; it’s for environmental manipulation, crowd control, and creating the "opening" required for a lethal follow-up. 2. Level Design as a Narrative Device
The architecture is massive, cold, and imposing. It evokes a sense of "history through ruins," where the player feels like an intruder in a tomb that was once a throne room.
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
One cannot discuss ELDERBORN without its soundtrack. The heavy metal score isn't just background noise; it acts as a metronome for the combat. The aggressive riffs sync with the high-intensity encounters, driving the player into a "flow state" where the movement, the parrying, and the music become a singular, bloody dance. Conclusion: More Than the Sum of Its Parts
The world of ELDERBORN —the City of Jurmum and its surrounding catacombs—is a vertical labyrinth. The game eschews traditional quest logs for environmental storytelling. ELDERBORN Free Download (v1.09)
Most first-person games treat melee combat as "floating" or "floaty," where weapons feel like sprites passing through air. ELDERBORN counters this with a sophisticated physics-based feedback system. One cannot discuss ELDERBORN without its soundtrack
Every swing of a hammer or thrust of a spear has a wind-up and a recovery. Version 1.09 ensures that the "crunch" of steel meeting bone is backed by frame-perfect hitstop and screen shake, making the player feel the literal weight of their barbarian heritage. Conclusion: More Than the Sum of Its Parts
The interconnectedness of the maps rewards exploration. Finding a lever that opens a gate back to a "Fountain of Essence" (the game’s version of a bonfire) provides that classic sense of relief found in high-stakes dungeon crawlers. 3. The RPG Layer: Essence and Evolution
Taking a page from Dark Messiah of Might and Magic , the kick is a primary tool. It isn't just for damage; it’s for environmental manipulation, crowd control, and creating the "opening" required for a lethal follow-up. 2. Level Design as a Narrative Device
The architecture is massive, cold, and imposing. It evokes a sense of "history through ruins," where the player feels like an intruder in a tomb that was once a throne room.
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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