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 241 - 264 of 289

Sheet Music Database

100

Aquarelle

Sergio Assad

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Single piece for guitar. D Major. 14 pages. Published by Editions Henry Lemoine

Skill Level
Advanced
musbowers5preludes

Five Preludes for guitar

Timothy Bowers

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These Five Preludes are wide ranging in musical and technical content with expressive outer and middle movements and rapid fhythmical 2nd and 4th movements. Bowers Five Preludes were awarded First Prize in the Domecq International Guitar Festival - Search for new music competition in 1983.

Skill Level
Intermediate
Advanced
musoneplusvol23

One + One Volume 2 (Pupils Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

Skill Level
Beginner

These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

All the student parts are single line melodies across the two volumes.

Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

Grade 1 (volume 1)

  • Riggadoon: a lively, straightforward melody using the treble strings.
  • German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.
  • Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

Grade 2 (volume 2)

  • Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.
  • A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!
  • Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.
  • Grade 3 (volume 2)

    • Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.
    • Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

    Selina.

    musmertzvol6

    Guitar Works Volume 6

    Johann Kaspar Mertz

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    Edition of Collected Works comprising about one-third of the composer's total output. Selected and edited by Simon Wynberg. Mertz was a leading guitarist composer from the Romantic period and his works are frequently performed in concerts today. His works are in the language and style of Mendelssohn, Schubert and Liszt.

    Skill Level
    Intermediate
    Advanced
    Out Of Stock Enquire
    musgw3

    The Guitarists Way Book 3

    Peter Nuttall and John Whitworth

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    An important feature of this book is the development of a secure free stroke technique therough the playing of arpeggios and chords. Second and seventh positions are explored and left hand technique is developed by the introduction of slurs. As in books one and two there is plenty of opportunity for duet and trio playing, and there are many attractive solo pieces.

    Skill Level
    Beginner
    328

    36 Caprices Op. 20

    Luigi Legnani

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    In the varied world of the 19th century guitar Legnani was an inspired and prolific composer. Initially trained as a violinist he became famous as a guitarist and was held in great esteem by Paganini. The Caprices were first published in 1822 with each having a defined character and some are outstanding examples of pure virtuosity yet with emotion and spontaneity.

    Skill Level
    Advanced
    musGiulianiSonataop15

    Giuliani Sonata OP.15

    Mauro Giuliani

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    This is one of those pieces that, throughout my time as a performing guitarist and teacher, has often been criticized for being either too long or boring and put aside for more ‘obviously’ challenging and exciting pieces. In fact I think that the 19th century repertoire in general has suffered with the great influx of modern repertoire and, particularly, crossover styles designed to attract younger players to the classical guitar and hold their interest. Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

    Skill Level
    Intermediate
    Advanced

    This is one of those pieces that, throughout my time as a performing guitarist and teacher, has often been criticized for being either too long or boring and put aside for more ‘obviously’ challenging and exciting pieces. In fact I think that the 19th century repertoire in general has suffered with the great influx of modern repertoire and, particularly, crossover styles designed to attract younger players to the classical guitar and hold their interest. Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

    Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

    Of course a Sonata in three movements is not something that guitarists come across very often. Giuliani wanted very much to put the classical guitar on to an even footing with classical music in general and so used classical ‘forms’ in his compositions and arranged music by (and used themes from) Rossini and Beethoven.

    Playing this piece really gives us the opportunity to get involved in the Classical style, do a bit of research – the internet these days makes that so easy – and find so much more in the music. All the basic guitar techniques are required here but getting around the notes and the fingering is not enough; doing that is when the piece becomes ‘dull’!

    Allegro Spiritoso is an excellent title for the first movement. It is light and bright with wonderful texture and musical drive. Traditionally the first movement of a Sonata was composed in sonata form, consisting of three sections – exposition, development and recapitulation. In the exposition the composer introduces the musical ideas as a number of themes. The material is then ‘developed’ in the development section and then the exposition is repeated and modified in the recapitulation. Just knowing this basic outline gives you so much to look for in the music and your playing.

    The main theme is played over an accompanying figure, alternating ‘p’ ‘i’, quite a challenge to achieve the required balance and very effective. Articulation is very important throughout with slurring in particular giving shape and character to melodies and connecting phrases. Often the melodies move in consecutive intervals, that is, passages in thirds, sixths and octaves, which give different levels of drama, tension and direction to the piece.

    I particularly like the climax created by the changing harmonies over a repeated D leading towards the second theme, and a new key.

    The Development is simple but very effective with the minor key changing the mood and rising arpeggios in triplets and big repeated chords adding to the momentum and excitement, ultimately leading us into the recapitulation, repeating and developing the original theme.

    The second movement, Adagio con espressione, requires great control, sustain and subtlety. It is difficult because it is slow and we have to learn to sing the melodies to sustain the direction and meaning of the music, highlighting the importance of breathing for guitarists!

    One of the themes here is a high melody flowing over low, repeated chords consisting of alternating thirds and seconds. This is pretty tricky technically and musically! Giuliani is definitely asking the guitarist to play like a small orchestra resulting in a lovely, melancholic feel but needing plenty of patience! There is some lovely decoration in this movement with varying rhythmic movement and delicate shaping of the melodies, finishing with an echo of the main theme from the Allegro.

    The third movement, Allegro Vivace is lively and sparkling. It is the most straightforward, providing an exciting, rhythmical, bustling feel to finish off the whole piece. Lots of nice, simple arpeggios, sharp staccato chords and accents contrasting with long, smooth melodies over ‘alberti’ bass patterns, that is alternating ‘p’ ‘i’ in the bass.

    The ending however is quite subtle, dropping down in dynamic and making the most of rests and pauses before the final ending chords.

    This piece works best if you can use your imagination and really listen to the different textures and emotions in the music.

    Be a little orchestra and create different colours as the music changes, recognize the textures that come from the way the notes are written, for example intervals, alternating or repeated notes, chords or arpeggios, rests, slurs and simple melodies.

    It is great fun and you do not have to know a lot about the changing harmonies and structure (although this is also fun!) – just use your ears and build up your own musical picture.

    Selina.

    120

    The Guitarists Hour Book 1

    Schott

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    An Hour with the Guitar presents a careful selection of the most beautiful pieces of guitar literature. All the names familiar to every professional and amateur guitarist - Aguado, Carulli, Carcassi, Coste, Giuliani, Sor, and many more - are represented in this collection and ensure much stimulating variety. These pieces, with grades of difficulty progressing from very easy to moderately difficult, will give not only the beginner but also the advanced guitarist some valuable material for teaching, entertainment and performance.

    Skill Level
    Beginner
    Intermediate
    mussanzanthology

    Anthology of Selected Works

    Gaspar Sanz

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    The pieces in this anthology are selected from Sanz's treatise for the five-course guitar. The various tunings used during the history of the Baroque guitar were quite different from that of today's instrument. In this edition Raymond Burley has tried to remain as faithful to Sanz's original tablature as its transcription for modern guitar will allow.

    Skill Level
    Intermediate
    79

    Moving On

    Peter Nuttall

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    For students of all ages who enjoy melodic pieces in popular styles. The technical demands remain modest, and the idiomatic nature of the compositions makes them rewarding to both player and listener.

    Skill Level
    Beginner

    I really like this little collection of pieces as they highlight development of musicality and emotion in your playing.

    Realistically the level here is grades (or years playing) 2 to 3. Although the pieces are not complicated there are more notes to read on the page, more ‘involved’ rhythms and much more musical input required. Several of the pieces use a bass melody, fantastic for improving reading of these often neglected but very important notes!

    In The Wheatfields the accompanying 3 note chords look difficult but are all using i m a for mostly open strings or with one fingered note. This provides a very full accompaniment for the beautiful bass melody with lots of musical instruction to keep you on your toes.

    In contrast On The Prairie has a treble single line melody with arpeggio filling, with the evocative title clear ideas on how to interpret the bright and flowing music.

    The Old Lute is a simple piece in two voices reflecting a Renaissance style with a modern twist and To Mexico has a mixture of arpeggio chords and melody, syncopated rhythm, D and A chord shapes and loads of character!

    There are three good blues pieces written in 12/8 time to give the swing feel with some very effective syncopated rhythms, teaching a lot about chords and about feeling the pulse and movement in the music. The final Danza has quite a medieval feel to the harmony, with the melody swapping between treble and bass registers and a lovely gentle flow throughout.

    All in all a very enjoyable set of pieces with lots of potential for technical ad musical development as well performance opportunity!

    Selina.

    193

    Ricercari and Fantasien

    Franscesco Da Milano

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    The pieces here are beautiful and peaceful; we have to learn new sounds and the techniques of playing contrapuntal lines but at the same time the music encourages freedom and invention. Learning this music is not really about technical virtuosity, for example how fast or loud we can play, but about control, understanding and listening - nurturing the musician in us.

    Skill Level
    Advanced

    There is a short introduction at the beginning of this edition describing the sources used and introducing the musical style. Particularly interesting is the explanation of the titles that are so different to what we are used to!

    Ricercari is an Italian verb meaning to seek/ quest. It was originally used in music to denote ‘trying out an instrument” or “prelude” so referring to an improvised introductory piece. In the 16th century ‘Ricercari’ and ‘Fantasia’ came to be applied to instrumental compositions that were mostly imitative with no clear distinction between the two.

    The introduction makes an important point in explaining that the music of the Renaissance has a tonality and harmony all of its own, and that players need to spend time getting the feel of it. This is why it is so important to have the music in the exam repertoire, introducing it to a much wider audience and really expanding the guitarists’ repertoire and musical knowledge.

    The edition uses F♯ tuning of the G string and recommends the use of a capo on the 3rd fret to bring the guitar closer to the pitch of the renaissance lute. A capo is not essential but it does make the voices much cleaner and the harmonies easier to hear.

    The use of this tuning however is very important. It brings the intervals between the guitar strings in line with that of the lute, which means that the tablature can be followed more closely in the transcription and the chords flow more smoothly.

    This, of course brings a new challenge to most guitarists, with notes in different places and chord shapes altered! For me it really emphasizes the importance of reading music and knowing the names of the notes on the page and on the guitar – you may be surprised that this can be a problem!

    I love this music for its purity, depth and tranquility.

    There are long melodic lines, interweaving and creating beautiful and complex harmonies. From a technical point of view it is all about tonal and dynamic control of melodies and harmonies. From a musical point of view the guitarist needs to recognize voices, motifs and imitation to understand the structure of the music. The thematic entries need to be brought out clearly and the dynamic control needs to be subtle so as not to interrupt the pretty constant flow of the music.

    The edition helps by marking entries and imitations with capitol letters but this is an excellent opportunity for players to practice and improve their listening and interpretive skills and experimentation should be foremost!

    The edition is not over fingered, which is great giving players more flexibility and choice. It is inevitable that some sacrifices in voicing, for example sustaining notes, have to be made but we should always be looking out for the importance of the interweaving lines and the dissonances and resolutions created – scrumptious!!

    The pieces here are beautiful and peaceful; we have to learn new sounds and the techniques of playing contrapuntal lines but at the same time the music encourages freedom and invention.

    Learning this music is not really about technical virtuosity, for example how fast or loud we can play, but about control, understanding and listening - nurturing the musician in us.

    Selina.

    musbarriosvol3

    Guitar Works Vol. III

    Agustin Barrios Mangore

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    Edited by Richard D. Stover. Guitar solo songbook for solo guitar. With introductory text and fingerings. Classical Period and 20th Century. 21 pieces, including: Una Limosna por el Amor de Dios (Gran Tremolo) * Julia Florida - Barcarola * Vals, Op. 8, No. 4 * Choro da Sauda de.

    Skill Level
    Intermediate
    Advanced
    309

    Trinity Guitar 2016-2019 - Guitar Grade 3

    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
    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
    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
    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.

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