Sheet Music

Sheet Music Database

Our Sheet Music database is very searchable using any or all of the following - Composer name, Title, Musical standard, Exam board and Grade of piece both that of the exam boards and also our own Stafford Guitar grading.

Our aim is to not only bring you the up to date exam syllabus but also a selection of music we have enjoyed over our years of playing. The Stafford Guitar grading is to help you when selecting new pieces to learn.

In addition you will find Selina’s review of a piece or book helpful and again these reviews are carried out to help with your choice.

We are also happy to obtain music that we currently do not stock so if there is a book or piece you would like call and we will attempt to find it for you.

Results 1 - 24 of 289

Sheet Music Database

musplaypiazzolla

Play Piazzolla

Astor Piazzolla

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Play Piazzolla is a unique collection of 13 tangos by the Argentinian master of tango nuevo, arranged for easy solo guitar. The pieces have been skilfully arranged by Gary Ryan so that this wonderfully vibrant music can be easily enjoyed by younger guitar players.

Skill Level
Intermediate

This book is a fantastic addition to the guitar repertoire as it opens up the wonderfully vibrant music of Piazzolla to a much wider audience, encouraging a more rhythmical, yet "freer" style of playing and increasing the variety of musical styles available to all players.

Gary Ryan's arrangements are very skilful, in that no sacrifices in musical content are made for ease of playing.

The music immediately transports you into the world of Piazolla's Argentine tango with syncopated rhythms, drama, excitement and his distinctive harmonies.

The use of voicing is particularly effective and offers a real challenge to the player to be able to make the separate melodies sing along with each other!

I loved the walking bass in Overture (2) with the snatches of melody above giving a feel of the different instruments in the band. Ausencias and Mumiki require a lot of freedom and feel of improvisation and the syncopation between voices in Milonga is great fun.

I particularly like Milonga for Three, which has a bass rhythm to be maintained throughout, and contrasting textures, which go from dissonant and brooding to lighter chords and insistent driving rhythms.

There is so much to enjoy and to work with in this volume, developing important skills whilst enjoying some excellent music. I would say an essential book for all guitarists from grade 4 upwards.

Selina.

rodrigomusicminusone

Concierto De Aranjuez

Joaquin Rodrigo

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What is undoubtedly the most famous and most acclaimed guitar concerto ever written is now a fabulous Music Minus One release! The recently deceased Joaquin Rodrigo, foremost proponent of the classical guitar in the concert literature, wrote this masterpiece of 20th-century music in 1939. Gorgeous and eternally popular, it is an indispensable component of any guitarist’s library. This deluxe 2CD set includes a slow-tempo practice version to help you get up to speed. Digital stereo CD with full performance, and second performance minus you, the soloist.

Skill Level
Advanced
musabtheory3

Music Theory in Practice, Grade 3

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 3 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Skill Level
Beginner
301

Due Ragtimes

Scott Joplin

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Champagne Rag & The Entertainer written by Joplin and arranged by Mario Gangi. Interested in trying something different? then here you are. Good fun, light hearted and great at parties.

musdowlandsolowerke

Solowerke 1

John Dowland

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I think every guitarist should have some experience of Renaissance lute music. It has so much to offer us in musicianship skills and we are very lucky to be able to play the music of such a great composer. John Dowland Solowerke Vol.1: Solos for classical guitar. Universal Edition

Skill Level
Intermediate
Advanced

One of the most important things to look for when playing music that has been arranged or transcribed is the quality of the edition, for example notes and explanations on sources and performance.

This edition has a short preface covering all the main points; sources, recognition of the main, comprehensive edition of the complete lute music, explanation for the use of F sharp tuning and the suggestion to raise the pitch of the guitar with a capo so imitating the lute more closely and getting more detail from the music.

There are also some facsimile prints to show you what the original lute music would look like. I absolutely love this music, an interest that goes back to falling in love with my guitar teachers lute at the age of 8!

It has so much to offer us in musicianship skills and we are very lucky to be able to play the music of such a great composer.

In this collection you are introduced to the various dance forms used as the basis for many of the compositions in the Renaissance. There are simpler, chordal pieces in Tarletons Riserrectione, My Lord Willoughby's Welcome Home and Round Battle Galliard as well as complex, contrapuntal pieces in The Right Honourable Robert, Earl of Essex, high Marshall of England, his Galliard. Are not the titles fantastic as well, giving you a real sense of history and living music! In the first Galliard we are introduced to imitation between voices and suspensions in inner parts creating wonderful dissonances. This little piece demonstrates how important listening is with this music, that is listening to horizontal lines and phrases rather than just learning through fingering and shapes.

The compositional technique of using Divisions to build a piece is perfectly demonstrated in Sir John Smith his Almaine (this is probably one of my favorite ever pieces by the way). Divisions are when each theme is repeated in a more decorated version so adding to the build up and variety in the piece. John Smiths is lively and strong, with simple, long flowing phrases and a real sense of movement. The Frog Galliard (grade 8) is very similar, without complex counterpoint but with strong rhythm, dance movement and constant development through the piece. Another Renaissance technique was to extend bar lines at cadences, which has the effect of pushing the music towards the conclusion. This happens at the end of each section in The Frog Galliard effectively creating a 3/2 bar from 3/4 bars before each cadence. In this edition the hemiola technique that I have just described is indicated with brackets under the music.

One result of the use of divisions in a piece is some quite extended, quick and virtuosic semiquaver passages to deal with. There are also decorated final chords in several of the pieces which look to have very quick notes but are intended to be played more freely, as a finishing flourish! The idea of suspensions comes out beautifully in The Shoemakers wife and the counterpoint in Lady Rich and The Earl of Essex is stunning.

I think every guitarist should have some experience of Renaissance lute music. There really is something for everyone, from strong driving rhythm to interweaving lines, beautiful dissonance and pure singing melodies. This collection goes from about a grade 4 standard virtuoso pieces that are not out of place on the concert platform. And there is so much more to explore!

Selina.

giuliani-sonatas-op-71

Giuliani 3 Sonatinas OP.71

Mauro Giuliani

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First published by Cappi in Vienna in 1816 and reissued by Mechetti soon after which this edition is based on. Op. 71 is a collection of studies in sonata form and the aim is to train the student in both technical and more importantly stylistic matters. All revisions are clearly marked and an amount of fingering has been added which was not present in the original. As with all UTOrpheus publications, clearly printed allowing for ease of read.

Skill Level
Intermediate
Advanced
muszeatriptico6

Triptico Venezolano

Luis Zea

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Described by Leo Brouwer as the ideal soloist Luis Zea has spent a life time Performing, composing and as a teacher. The three pieces contained in this edition were written between 1973 and 1986 and are a must for a player who wishes to develop an emotional to their playing.

Skill Level
Intermediate
92

Easy Pieces from Shakespeares Time Vol.1

Karl Scheit

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This music, in its beauty and easy playability, constitutes an excellent introduction to the extensive lute literature of the Elizabethan Era. Through the pieces in this collection the player, from the outset, will be made familiar with the most diverse interpretation techniques, such as ornamentation, diminution and song settings for lute alone. Includes pieces by John Dowland, Francis Cutting and Thomas Robinson. These two volumes are full of pieces that have stood the test of time and are a must for anyone learning the classical guitar.

Skill Level
Intermediate

I am so enjoying reviewing our music because I am being reintroduced to a lot of the music that has been part of my life with the guitar and realizing how much great stuff there is to choose from whatever your level and expertise.

These books probably represent my first introduction to music of the Renaissance, music that is still my favourite.

We are so lucky as guitarists to have repertoire that spans so many centuries to choose from and the pieces here are simply great for developing musical skills like counterpoint, highlighting voices, repeated chords and exciting rhythm.

These books have been around for a long time, a fact that reflects their value on technical, musical and enjoyment levels. The printing is clear and the edition is good with fingering suggestions rather than the blanket fingering that is common among modern editions. The books include a wide range of music, from simple dances to slower more gentle pieces and on to quite difficult rhythms, voicing and counterpoint. Many of the pieces use compound time like the delightful A Toy and Wilson’s Wilde in volume 1, so good for improving your counting skills and developing a real feel for pulse which is so vital for flowing and musical performance.

What if a Day (vol.1) is excellent chord voicing, listening to harmony and keeping a smooth melody over the top. More detailed counterpoint is evident in Grisse his delight, An Almaigne and Alman (vol.1) with melodic lines being introduced in up to three lines as well as supporting harmony. This is such valuable experience for the developing guitarist as we are so used to thinking vertically. Here we can learn to find, sing and highlight the different melodies and the resulting phrasing, dissonances and musical drive are fantastic.

Volume 2 also includes a range of pieces reaching to a higher level than the first volume. I particularly love the Volt and Currant, musically simple with great drive and technically tricky with a fast melody over a repeated arpeggio in the bass – learning what it is like to be more than one musician on one guitar! Go From my Window and Fortune introduce the idea of F# tuning which allows the fingering to follow how it would have been played on the lute.

There is a lot of detail in this music but also loads of spirit, movement and fun. From an early stage it particularly teaches us to listen and on a technical level is especially good for the left hand developing independence and flexibility across the strings. I will certainly be bringing these into my teaching. The music may be very old but it is some of the best and accessible from an early stage. It may not seem trendy but that doesn’t matter because it is great fun to play!

Selina.

221

Theory of Music Workbook Grade 7

Trinity Guildhall

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Designed for use during lessons or at home these workbooks contain all the requirements for Trinity Guildhall examinations. Each book also contains sample exam paper.

Skill Level
Advanced
muswandersiquepasa

i Que Pasa !

Jeop Wanders

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The twelve duos in this album are in the Spanish styles so characteristic for the guitar. The distinctive character of the pieces emerges from the way they are played and from special effects like flageolets, tambora, golpe etc. The two guitar parts make equal demands on the players. It makes no difference who plays which part. The album is an excellent aid to duet-playing. The CD is both instructive and for playing along with. Difficulty level grade 3

Skill Level
Beginner
52

Guitar Scales and Arpeggios Grades 1 to 5

ABRSM

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This new edition contains all the scales and arpeggios required for the Grades 1–5 ABRSM guitar exams. All scales and arpeggios for the revised syllabus from 2009. Suggested fingering provided, helpful introduction including advice on exam preparation, user-friendly format and clear page-layout.

Skill Level
Beginner
Intermediate
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3212

Scenes for Guitar Book 2

Gary Ryan

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When I meet people at recitals or after adjudicating at music festivals they often say to me "I really like your Scenes from the Wild West but it is too hard for me. Please can you write some easier pieces?" Here is a set of eight pieces which I have tried to make accessible and a little easier. Hopefully you will find something to enjoy. Gary Ryan

Skill Level
Intermediate
161

The Enchanted Forest

Peter Nuttall

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One delightful (two page) piece with a haunting melody, introducing the student to classical tremolo technique. A must for all aspiring guitarists.

Skill Level
Beginner

This lovely little piece definitely fills a gap in technical development for guitar students in that it gives us the chance to start learning about and developing tremolo technique at a much earlier stage in our learning.

Tremolo involves rapid right hand finger articulation, usually in a “p a m i” pattern designed to give the impression of long sustained notes which can then form a melody or act as an accompaniment or counter melody to a bass melody.

There are a few easier studies from the 19th century using this type of technique but all of the main pieces are advanced repertoire, most famously Recuerdos De La Alhambra by Tarrega.

The Enchanted Forest uses simple Left Hand fingering with no quick changes to notes and positions in the tremolo line.

The left hand consists mostly of half barre shapes moving up and down the fingerboard with some easy fingering around that. The bass line is very good for working on travel of the thumb across the strings and is easy to hear and shape as a musical line. Both the bass and tremolo notes are to be highlighted rather than one being purely accompaniment.

The thumb has a low string to stretch to at the beginning of each bar and then mostly alternates closer to the fingers, much easier for the tremolo novice!

The earlier that we can start working on this technique the better as it can become a natural part of the way that we use our fingers and this piece offers a fantastic opportunity for that and for enjoying a beautiful, little musical experience.

Selina.

musicbrouwer2

Un Dia de Noviembre

Leo Brouwer

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An extremely enjoyable piece for those looking for music to please an audience who may be new to classical guitar. Clearly printed and easy to read the music spans two pages ensuring no page turns.

Skill Level
Intermediate
Advanced

This piece has a beautiful melody, wistful and contemplative at first, with plenty of contrasts in emotion and atmosphere to captivate the listener and the player.

The piece really shows Brouwers complete understanding of the guitar and how to get the best from the instrument and the player.

He uses patterns of fingering in both hands and although some of the moves are tricky, with one difficult stretch, the piece feels very natural overall, falling under the fingers and allowing more time for interpretation.

The music employs good, basic guitar techniques, most importantly keeping the melody and phrasing flowing over the accompaniment while also recognizing the bass line. It is also good for listening to harmonies and progressions, and how these influence musical direction.

The piece has three main sections; A introduces the main melody and returns after B and C. B maintains the melancholic feel but moves into a higher register, moving back and forth between 2 motifs and giving a more restless feel. C is in a major key with a brighter feel and stronger rhythms in contrast to the gentle, arpeggio accompaniment of the first two sections.

I found that the more I play this piece the more I find within it. It is very enjoyable to play and an excellent ‘audience’ piece. A must for any Players/Performers repertoire.

Selina.

282

Pumping Nylon Intermediate

Scott Tennant

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Welcome to the second installment of the repertoire supplements to Pumping Nylon. As the title indicates these pieces are more advanced and are primarily concert pieces. Consider this book to be a brief representation of the types of pieces that contain specific technique building elements. When practiced correctly they aid in the development of your guitar playing skills. CD included.

Skill Level
Intermediate
Advanced

I do find the title and cover of this book (and the technique book of the same name) very inappropriate to represent my beautiful and lyrical classical guitar, however, once I had got past this I could see the huge benefits for a student of the guitar, namely the great collection of varied pieces from old to brand new.

The pieces in this book offer a wide and varied ‘dip’ into the guitar repertoire from The Frog Galliard by Dowland, to a Coste study, a Villa Lobos inspired Etude and on to the cadenza from Concierto de Aranjuez by Rodrigo!

The preface explains how these are primarily concert pieces and therefore more substantial in technique, musicianship and length than in the previous volume. Tennant asks us to consider the book as a brief representation of the types of pieces that contain specific technique-building elements and, when practiced correctly and with intent, will aid in developing your guitar playing skills.

The techniques highlighted include arpeggios, left hand finger independence, chord balancing and specific techniques like tremolo. Each piece has its own checklist and a short explanation for its inclusion in the book. It is very valuable to be able to see the technical development needed in your various pieces so that you can practice them in the correct way, but it is also very important not to forget, and to make sure that you spend plenty of time practicing, the musical elements. Tennant has hinted at this in some of his descriptions, for example Variations sur les ‘Folies d’Espagne’ by Giuliani – “a typical and lovely variation set”, and The Frog Galliard – “I hope you derive as much joy from it as I have over the years.”

As in the previous volume the music is very diverse and offers as much experience in musical style as in technique. There are long flowing phrases and lovely harmonies in pieces by Milan and Narvaez, great fun in the Folies Variations by Giuliani and a fantastic study by Coste which inspires musicianship through the sounds produced by detailed articulation and slurs.

Alongside these are 2 flamenco studies by Adam del Monte that offer the classical student wonderful technical development and musical excitement and Plainte by Brian Head where voicing is the challenge, definitely not only a technical challenge. Having the cadenza from the Aranjuez is the icing on the cake and is guaranteed to make you feel good!

A book like this gives us many choices and experiences, as long as we use it with an open mind, don’t blindly follow technical checklists but use them as a guide and source of ideas for you to develop, and most of all enjoy playing the music.

Selina.

musferrercharme

Charme de la Nuite

Jose Ferrer

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A charming selection of character pieces for Guitar. Ferrer's compositions were written mainly for solo guitar and resembled the fashionable salon music of his time

Skill Level
Intermediate

I think that this book offers a great opportunity to guitarists of all levels to explore and, most importantly enjoy, some wonderful pieces.

The preface describes it as charming salon music, a perfect description for music that challenges the technique but is always imaginative and fun encouraging exploration of colour, texture and musical shape. This is not heavy or serious music, which is refreshing, and highlights the reason that we play – to enjoy and let others enjoy lovely music!

The music requires the player to look into what they are doing musically and to think about shape and direction. For example Ferrer uses for lightness, drama and suspense – the music doesn’t just stop! There is a lot of colour and texture to be found in the music, as well as dynamic control that is not necessarily marked.

There are demands on technique appropriate to the different levels of difficulty, all strongly associated to musical shape and style – articulation, right hand arpeggios, slurs and fluent movement around the fingerboard to name a few. The music is more romantic and emotional in style, falling really between Aguado and Mertz.

I love the use of the whole fingerboard in Ejercicio, creating drama, and the slurring motifs in El Amable with the melody moving easily between treble and bass parts. Ferrer uses some more unusual keys for guitarists; F major in Estudio developing a strong barre technique, and C minor in Nostalgia which has the added challenge of constant accompaniment figures. L’Etudiant de Salamanque has some lovely Spanish flavours and contrasts in a Tango and Vals finishing off with an effective and great tambora section. In complete contrast is Charme de Nuit, a nocturne that is free and unashamedly romantic! My personal favourite is Belle. This is such a happy piece guaranteed to bring a smile, especially the tuba section, while still challenging the player’s technique, particularly right hand.

The pieces in this little book go from grade 4 to 7, giving a player a great sense of development both technically and musically, introducing new music and style, and providing great entertainment. What more do we need?

Selina.

musmartinquatrepiec

Quatre Pieces Breves

Frank Martin

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This edition presents the work in the form in which it appears in the definitive manuscriot written in 1955. The original composition for guitar solo dates from 1933 which was later arranged for large orchestra.

Skill Level
Intermediate
107

Guerau Five Pieces

Francisco Guerau

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Five dances selected from Guerau's Poema Harmonico. If the themes have a familiar ring it is because they were in general use and were often built on traditional groungs rather like as this century has made use of the 12-bar blues sequence. Guerau treats his themes with much greater freedom and resource than Sanz.

Skill Level
Advanced
mustrinitysands1

Sound at Sight Grade Initial to 3

Trinity Guildhall

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This latest addition to the sound at sight series provides a wealth of approachable and attractive sight-reading pieces for the guitar. Each piece has been carefully graded to match exam requirements and is presented in a clear attractive layout. This book offers invaluable practice material for guitarists and is vital in preparation for examinations.

Skill Level
Beginner
39

Guitar Exam Pieces CD Grade 2

ABRSM

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Recordings of pieces from the new ABRSM Guitar Syllabus, from 2009. Innovative and valuable resource for candidates preparing for ABRSM exams. All duos are accompanied by another guitar, and playalong tracks for these pieces are also included.

Skill Level
Beginner
308

Trinity Guitar 2016-2019 - Guitar Grade 2

Trinity College London

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Containing pieces required for the Trinity Guitar exam. Three pieces to be performed from those listed in this book, at least one from each group, or from the duets or alternative pieces listed for this grade, to form a balanced program. This is an excellent book even if you have no intention of taking the exams.

Skill Level
Beginner
musabauralcd3

Aural Training In Practice CD Grades 6 to 8

ABRSM

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Old Syllabus - for practice only. Aural Training In Practice provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical exams. These CDs accompany the Aural Training workbooks. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Intermediate
Advanced
3314

Selected Studies for Guitar Vol. 1

Mauro Giuliani

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One of the two most important guitarist-composer of the first half of the 19th century Giuliani excelled as a teacher. Giuliani understood where the guitar can be brilliant and where it lacked power and was able to mix together the requirements for teaching and the creativity of music. A definite yes for any student guitarist.

Skill Level
Intermediate
Advanced
musspaldingragamufin

Ragamuffin

Gary Spolding

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For players interested in music written in a popular style. The book contains a set of pieces in the style of Rock, Rags, Blues and Boogie all in swing rhythm. Great fun and excellent for classical players to become more adept at a slightly different rhythmical style.

Skill Level
Beginner
Intermediate

This is a great little book written, as Gary explains in the introduction, as several of his grade 3 to 4 students became extremely interested in playing music written in ‘popular’ styles!

This of course encourages students who might otherwise drift away from the classical guitar but it also provides excellent technical and musical development for those of us who love anything and everything classical guitar!

From the simple bass and melody of Little Boy Blues to the more complex repeated chords and higher positions of Clapped Out Blues there is a wide range of character within the overall style, with some challenging rhythms, chords and positions requiring free and confident movement around the fingerboard.

The music is great for helping to develop a feel for the pulse, essential when playing swing and triplet rhythms. Overall the style is very much based on patterns and chord shapes and knowing this can be very helpful in learning the notes higher up the fingerboard.

Looking at it from the other side, the pieces do represent an excellent teaching aid to learning the fingerboard and developing fluency in reading and in left hand technique while having fun! There are also plenty of slurs, bends and glissandos.

The Bass Vamp is great with a riff moving from one string to the next and some tricky slurs off high frets to open strings.

Rock Bass Groove is deceptively easy with simple open string chords accompanying the walking bass line – extremely effective and satisfying.

Slip Slidin’ Rock gets you used to higher notes and slides before moving on to Slick Riff Blues which has some quite complex movement around the fingerboard, slides, slurs and bends.

All in all, not only do these pieces introduce us to new styles without getting too complicated, but a lot of technique is being developed in the background, helping you to relax in playing and progress your overall musicianship.

Selina.

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