1967: I started to study Spanish classical guitar with Antonia Morales.
1970: After writing a letter asking permission to go backstage and meet him, I played for Andres Segovia. Segovia invited
me to study in Madrid. I was 12 years old.
playing the guitar. Fast treatment by Dr. Lawrence McCarthy, who recognized the devastating disease, saved my right arm.
The guitar is all I've ever wanted, all I've ever known. I thought if I could never play again, I wouldn't want to live. My
miraculous recovery owes to God’s grace and mercy and to the intercession of prayers from many friends and people the
2003-09: I met my wife, Virginia, and composed the ‘Concerto in D’ in her honor. This period of my life was spent
composing, exploring new techniques, studying orchestration, and learning soundtrack music from Danny Elfman and Ross
Wright. I produced three albums: Guitarra, My Favorites and Homage, as well as a concert DVD. I also was involved in
forming the curriculum and compositions and studies for a guitar institute. Divine Guitar, whose students have received
first place awards from the GFA and other guitar competitions for ensemble work.
2009-present: Concertizing and focusing on growing the audience to include both classical guitar enthusiasts and fans of
acoustic finger-style music such as Leo Kottke.
concert halls. I started to take on promising students (they promised to practice, but rarely did). In this period I produced my
first 3 albums. Cathedral Heights (Best Records) in 1990 expressed my training in the Spanish tradition. Castilian Knights
in 1993 included two of my compositions in the style of the Baroque and Spanish composers. Faces (JVC) featured 11
compositions and vocal arrangements in an adult contemporary, smooth jazz style, its title tract was featured in the 1990
1998: My son John Cross Kimrey was born and in his honor I wrote the piece “Song for JC” which is part of an album, All
my Soul (produced by Ed Townsend), a collection of lullabies and uplifting song forms dedicated to mothers and toddlers
to give them solace and peace during a stressful day.
1999-2000: I attended a year of seminary to gain a better command of God’s word, seeking to become a steward who
conveys God’s wisdom through music. I am not a religious man, and am leery of demonstrations of religious piety. I would
prefer to be spiritual and humbly reverent. Unfortunately, if you look in the dictionary for the word ‘mistakes’ there is a good
chance you will see my picture next to the definition.
worldwide with a demanding concert schedule.
1986-1990: During this period I retrained myself, changing my technique from the ground up. I started to reflect and question
my approach to technique with less than gentle assessment I made an account of what my weaknesses and shortcomings in
such areas as speed, control and tone projection. I asked myself why are there hundreds of even thousands of electric guitar
players who can play with blinding speed and accuracy and only a handful of classical guitarists that can play with true speed
accuracy without sacrificing feeling? The answer was the left hand approach and I began to integrate speed metal technique
into my training. I also studied left hand technique for violin. This led to a period in which I was forced to break everything
down to the most basic elements. It would be as if I was a caterpillar and someone asked me “Which leg do I move first?” I
aware which can be dangerous for someone who never gave much thought to how I did things. After 3-4 years of retraining
my left hand as well as my mental approach, I was humbled but came to realize a new fluency and ease in my approach to
something I had held so dear yet had taken for granted. During this time I also recognized the importance of God in my life
how lost I was without his grace, love and mercy. I was relying on technique and training but had neglected my spiritual life.
1975: My European concert debut occurred in Amsterdam, Holland at the Concertgebouw followed by a debut in London at
1975-76: My first European tour
lessons with him. Also studied with Aureo Hererro, Emilio Pujol and Ernesto Bitetti. Also studied with Morena Torroba, his
Sonatina in A for guitar.
Federico Moreno Torroba
Theory, Composition and