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Agachar en linha

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.

Version française  

Agachar en linha

New Sequences by François Faucher

Now working on: G.F. Carulli's Gran Sonata Op.25


New.gif (284 octets) G.F.Handel's Sonata 2. Allegro 3.Adagio HWV368New.gif (284 octets)


New.gif (284 octets) .J.S. Bach's  Sonata largo BWV1079 New.gif (284 octets)

New.gif (284 octets) F. Carulli's Two Russian Airs with variations Op.110New.gif (284 octets)

New.gif (284 octets) .W.A.Mozart's Symphony No.41 (Jupiter) KWV551

.New.gif (284 octets) J.S. Bach's .Sonata 2. Fugue  BWV964 New.gif (284 octets)

.New.gif (284 octets) W.A. Mozart's Theme and variations on: "La belle Françoise" K353 New.gif (284 octets)

New.gif (284 octets) W.A. Mozart's .Rondo K.511 New.gif (284 octets)


In many urban landscapes across the Lusophone world, from the bustling streets of Luanda to the vibrant favelas of Rio de Janeiro, a specific physical gesture often stands out: the act of "agachar em linha"—squatting or crouching in a line. While a casual observer might see this as merely a functional way to rest without a chair, the posture carries deep sociological significance. It is a visual language of communal belonging, a marker of street-level hierarchy, and a symbol of resilience in environments where formal infrastructure is often absent.

Here is an essay exploring the cultural, social, and symbolic significance of this posture.

Physically, the squat is one of the most natural human resting positions, yet in a Westernized, industrial context, it has often been replaced by the chair. To "agachar em linha" is to reclaim the ground. When a group of friends or neighbors occupies a sidewalk or a corner in this fashion, they are claiming a public space as their own. It transforms a transit area—a place designed for moving from point A to point B—into a stationary hub of social exchange. The "line" formation suggests equality and visibility; everyone is on the same level, sharing the same vantage point of the street.

In conclusion, "agachar em linha" is far more than a simple physical movement. It is a silent statement of identity and occupation. It represents a way of being in the world that prioritizes community over comfort and presence over pretense. By lowering their center of gravity to the pavement, those who "agachar em linha" demonstrate an unbreakable bond with their environment, proving that even in the most neglected spaces, a sense of place and brotherhood can be built from the ground up.

The Art of Presence: The Cultural Weight of "Agachar em Linha"

"Agachar en linha" is a Portuguese phrase that literally translates to "squatting in line" or "crouching in line." In a social or cultural context, it typically refers to a specific posture often associated with urban culture, street life, or informal gatherings in Lusophone (Portuguese-speaking) communities.


Composers are grouped in 6 pages: A-B; C-F; G-L; M-O; P-R; S-Z . 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

Agachar En Linha Apr 2026

In many urban landscapes across the Lusophone world, from the bustling streets of Luanda to the vibrant favelas of Rio de Janeiro, a specific physical gesture often stands out: the act of "agachar em linha"—squatting or crouching in a line. While a casual observer might see this as merely a functional way to rest without a chair, the posture carries deep sociological significance. It is a visual language of communal belonging, a marker of street-level hierarchy, and a symbol of resilience in environments where formal infrastructure is often absent.

Here is an essay exploring the cultural, social, and symbolic significance of this posture. Agachar en linha

Physically, the squat is one of the most natural human resting positions, yet in a Westernized, industrial context, it has often been replaced by the chair. To "agachar em linha" is to reclaim the ground. When a group of friends or neighbors occupies a sidewalk or a corner in this fashion, they are claiming a public space as their own. It transforms a transit area—a place designed for moving from point A to point B—into a stationary hub of social exchange. The "line" formation suggests equality and visibility; everyone is on the same level, sharing the same vantage point of the street. In many urban landscapes across the Lusophone world,

In conclusion, "agachar em linha" is far more than a simple physical movement. It is a silent statement of identity and occupation. It represents a way of being in the world that prioritizes community over comfort and presence over pretense. By lowering their center of gravity to the pavement, those who "agachar em linha" demonstrate an unbreakable bond with their environment, proving that even in the most neglected spaces, a sense of place and brotherhood can be built from the ground up. Here is an essay exploring the cultural, social,

The Art of Presence: The Cultural Weight of "Agachar em Linha"

"Agachar en linha" is a Portuguese phrase that literally translates to "squatting in line" or "crouching in line." In a social or cultural context, it typically refers to a specific posture often associated with urban culture, street life, or informal gatherings in Lusophone (Portuguese-speaking) communities.

 

 

FLAMENCO

Paco de Lucia  ; Sabicas 

 


Note to MIDI sequence contributors

Your submissions are welcomed.  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.   

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.  

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. 

 

Last update: March 8 2026

Copyright François Faucher 1998-2025

INDEX OF COMPOSERS

COMPOSERS TIMELINE

VIDEOS

TABLATURE SYSTEM

TABLATURE SAMPLES

MIDI HISTORY

SUBMIT

LINKS

ANCIENT GUITARS