What Is The Hardest Song To Play On Guitar

What Is The Hardest Song To Play On Guitar

We’ve asked musicians, we’ve scoured the internet and our music library - these are the hardest pieces of classical music out there.

Why not kick off with an impossible-to-pronounce piece? Here’s a blistering performance of this utterly bonkers piano piece - not for the faint-hearted:

Objectively,

So yeah, it’s an orchestral evocation of the end of the world that could potentially last for up to a week, and was intended to be performed in the foothills of the Himalayas. Here’s what Scriabin himself said about it:

Any Tips In Practicing This Piece? It Might Seem Easy To You Guys But I Havent Been Playing That Long So This Is The Hardest Song I've Been Practicing Yet

“There will not be a single spectator. All will be participants. The work requires special people, special artists and a completely new culture. The cast of performers includes an orchestra, a large mixed choir, an instrument with visual effects, dancers, a procession, incense, and rhythmic textural articulation. The cathedral in which it will take place will not be of one single type of stone but will continually change with the atmosphere and motion of the Mysterium. This will be done with the aid of mists and lights, which will modify the architectural contours.”

There was a reason Bottesini was known as the Paganini of the double bass. For extra difficulty points, be true to the period and play it on three strings.

OK, it’s hard to narrow these down to just one - but Berio’s experimental Sequenzas were actually designed to push the boundaries of what might be possible with any given instrument. Try the soprano one for size:

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Imagine writing a piano piece so insanely tricky that you know a human wouldn’t be able to handle it. That’s what Conlon Nancarrow did, much to everyone’s consternation, and enlisted the help of a trusty player piano to make sure it was finally heard:

This transcription of Thomas Moore’s poem is utterly bewildering - the techniques required are not only at the very extremes of the violinist’s capabilities, but also required at the same time as one another. See Hilary Hahn nail it:It’s a long way from the most basic motions to the most incredible piece of virtuosity. Surely few guitarists can say they’ve never wondered just how wide this gap is when it comes to their instrument.

There are countless breathtaking pieces of guitar music and there’s no way to rank the hardest of them with any certainty. Still, this list pulls together ten hugely difficult works for the instrument that only the most accomplished masters can play.

Top 10 Hardest Songs To Play On Guitar

Don’t think of them as insurmountable challenges, because they aren’t. Instead, treat them as motivational targets to aspire to. If you keep striving toward them, if you keep working hard, you’ll be amazed at what you end up achieving.

Here we go - ten pieces that represent the pinnacle of guitar-playing. You can findguitar sheet music for each of them on .

In 1899, composer and virtuoso guitaristFrancisco Tárrega visited the Alhambra, the great Moorish palace in southern Spain. Moved by its beauty, Tárrega was inspired to compose one of his most famous works:Recuerdos de la Alhambra.

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Many considerRecuerdosto be the hardest piece ever written for the guitar. It contains an almost continuous tremolo, a technique that requires a guitarist to repeatedly and rapidly pluck the same note. The technique alone requires countless hours to perfect, but it’s even harder to do it when the tremolo note’s always moving, as in Tárrega’s piece.

As if that’s not enough, the player also has to thumb a drifting arpeggiated melody underneath the tremolo note. A successful performance of the work demands nothing less than complete technical proficiency. If you don’t read staff notation, here’stablature for the work.

What

Heavy metal legendOzzy Osbourne had a knack for working with phenomenal guitarists. With his band Black Sabbath it was Tony Iommi. Later it was Randy Rhoads. ForBark at the Moon, he brought in Jake E. Lee.

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The album’s first song, ‘Bark at the Moon’ was written by Osbourne, Lee and bassistBob Daisley. All great metal songs contain powerful riffs and chugging chords, but there aren’t many that need to be picked with the kind of rhythmic precision shown by Lee on this track. The semiquaver runs in the chorus, for example, are tough to get right at tempo.

Then there’s the solo. The notes cascade relentlessly and rapidly all over the fretboard, and there are some awkward rhythms to articulate. Lee’s also thrown in a few artificial harmonics to boot. Nailing those in the white heat of a solo takes serious chops.

Head in the Cloudsbelongs toMaria Linnemann’s larger work, Suite for Lovers, one of a range of compositions by the guitarist on published byRicordi Berlin. Seven pieces make up the suite, but this one’s arguably the most difficult.

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It’s a beautiful piece that strikes the perfect balance between lyricism, intrigue and technical prowess. Its texture is marked by constantly overlapping gestures that involve quick and complex chord changes. It’s vital to maintain a clear sense of pulse throughout, otherwise the phrases will just collapse into a wash of sound.

Here you can listen to a flawlessperformance of the work by the composer herself. She works through her composition so smoothly that it appears simple. But appearances can be deceiving - the moment you have a go yourself, you’ll see that she and the work mean business.

Hardest

Ida Presti played countless pieces of guitar music as one of the finest performers of her generation, but she would compose only a handful of her own. Despite being few in number, they’re big on quality - and difficulty.Danse rythmiqueis no exception.

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As the title implies, there is a sense of established rhythm in the work - just about enough to make the ‘dance’ label suitable. But the notes themselves are as irregular as the gestures that they’re part of. The performer has to scamper around the neck of the guitar, and some of the fingerings are far from comfortable.

There are a few passages of pizzicato, which call for the player to mute the string slightly and produce a plucked tone - hard to do when playing complex passages at speed. On top of all that, it’s marked ‘allegro.’ So this is far from a stately waltz. Of course Presti herself would have found this work easy to play, but we’re not all concert guitarists.

Megadeth are widely regarded as one of the iconic thrash-metal bands. Thanks in no small part to the incredible fretwork of their guitarist Marty Friedman, a key aspect of the genre they helped to pioneer is highly virtuosic guitar-playing - or ‘shredding’.

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They consolidated their reputation in the early 1990s with tracks like‘Symphony of Destruction’, which features one of Friedman’s most jaw-dropping performances. The song largely makes the cut here due to its guitar solo, which features a seemingly unending - for the player at least - run of semiquavers.

In the midst of this run, right at the top of the neck, are a couple of stumbling blocks that make a perfect rendition difficult. First, lots of slurs are awkwardly and irregularly placed, so your picking hand can’t easily get into a groove. Secondly, there are some really nasty phrases combining triplet rhythms with super fast bends.

What

Icon of Japanese musicTōru Takemitsu is one of the most fascinating figures in the field. A composer of concert works and film music, and a writer on music theory and philosophy, his far-ranging interests inspired him to write highly thought-provoking music.

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One of the great avant-garde guitar works, Takemitsu’sFoliospushes the guitarist to the very limits of their ability to interpret material and bring it to life. Every one of the three movements that make up the piece is an exercise in technical complexity. Time signature changes are hard enough to deal with, but this work doesn't even have bar lines.

Takemitsu is well known for experimenting with the textural dimensions of music in his composition andFolios sees him doing just that. Playing swiftly won’t cut it when playing a piece like this. Players need to manipulate the guitar’s tone colour in ways that are just beyond the scope of most pieces. Takemitsu asks you to do exactly this - go beyond.

Few songs can get those lighters in the air likeLynyrd Skynyrd’s‘Freebird’. Known for their unforgettable anthems, the southern-rock band put together a ballad for the ages when they recorded this nine-minute monster in 1973.

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Initially, guitaristGary Rossington takes the lead with his slide guitar. While the winding melodies he works through are superbly crafted, they’re a long way from virtuosic. But after four-and-a-half minutes, Lynyrd Skynyrd up the ante and rock their way to immortality.

Here the band’s other guitaristAllen Collins takes the lead and starts one of the greatest and most phenomenally difficult guitar solos of all time. As if the pace and intensity of the material isn’t hard enough to handle, the sheer athleticism needed to play the endlessly recurring bends will just wear most players’ out.

We

María Luisa Anido was an Argentine classical guitarist and a prolific composer of works for her instrument. Her works display a distinctive style inspired by the rich musical traditions of her native country.Gris y mar features two preludes that reflect these national connections.

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As the subtitle ‘Preludios nostálgicos’ ('nostalgic preludes') tells us, these

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