This is an instrument suitable for accompanying the voice and for participating in less noisy

instrumental pieces, and also for playing solo pieces of varying levels of complexity and in several
independent parts. In the hands of a true virtuoso such pieces can give real delight. It is almost
impossible to write well for the guitar unless one is a player oneself.

The repetition of a note two, three, four, even six or eight times can
easily be done. Prolonged tremolos on the same note are really only good
on the top string, or at any rate on the top three strings, ( Proves nocturnal “gently rocking’ non
idiomatic character).

Once again we see that Berlioz talks about the importance of one being a guitarist in order to writte
with consistence for the guitar. And that non guitarist composers will never have a full understanding
of the possibilities of the guitar unless they try themselves or follow the work of virtuosos in which he
names examples as Zani de Ferranti, Huerta and F. Sor.

The interesting for me about this statement is that Benjamin Britten had some disregard about the
possibilities of the guitar in his nocturnal and I think that at some extent that largely contributed to the
different sonority of the piece.

Also important and recurrent is the fact that composers keep talking about the guitar as very dreamy
melancholic instrument capable of beautiful intimate sounds but unsuitable for other types of group
or big forms.