Sanz, Gaspar – Free Sheet Music and TABs for Classical Guitar
About Gaspar Sanz, Guitarist and Composer
Francisco Bartolomé Sanz Celma (April 4, 1640 (baptized) – 1710), better known as Gaspar Sanz, was a Spanish composer, guitarist, organist and priest born to a wealthy family in Calanda in the comarca of Bajo Aragón, Spain. He studied music, theology and philosophy at the University of Salamanca, where he was later appointed Professor of Music. He wrote three volumes of pedagogical works for the baroque guitar that form an important part of today’s classical guitar repertory and have informed modern scholars in the techniques of baroque guitar playing.
In 1674 he wrote his now famous Instrucción de Música sobre la Guitarra Española, published in Saragossa and dedicated to Don Juan. A second book entitled Libro Segundo de cifras sobre la guitarra española was printed in Saragossa in 1675. A third book, Libro tercero de mùsica de cifras sobre la guitarra española, was added to the first and second books, and all three were published together under the title of the first book in 1697, eventually being published in eight editions. The ninety works in this masterpiece are his only known contribution to the repertory of the guitar and include compositions in both punteado (“plucked”) style and rasqueado (“strummed”) style.
Beginner-Level Sheet Music by Sanz
Early-Intermediate Sheet Music By Sanz
- Sanz, Gaspar – Canarios
- Sanz, Gaspar – Coriente
- Sanz, Gaspar – Espanoleta (Advanced)
- Sanz, Gaspar – Folias
- Sanz, Gaspar – Fuga
- Sanz, Gaspar – Gallarda
- Sanz, Gaspar – Gallarda y Villano
- Sanz, Gaspar – Jiga Inglesa
- Sanz, Gaspar – La Miñona de Cataluña
- Sanz, Gaspar – Pavanas
- Sanz, Gaspar – Preludio, O Capricho Arpeado
- Sanz, Gaspar – Rujero y Paradetas
- Sanz, Gaspar – Zarabanda
- Sanz, Gaspar – Zarabanda al Ayre Espanol
Intermediate Sheet Music by Sanz
Premium Courses on Pieces by Gaspar Sanz
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Hi, I’m Allen Mathews.
I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
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