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 121 - 144 of 289

Sheet Music Database

bach-inventions-1-7

Bach Inventions Vol 1 1-7

J. S. Bach

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BMV 772 - Written for 2 guitars. Transcribed by Mario Martino & Andrea Schiavina. As with all UT Orpheus publications this edition is very clearly and cleanly printed which really helps when sight reading ensemble pieces. Music written by Bach, what more can I say, if you have an interest in playing ensemble which in my opinion you should at least try, then these Inventions are fun and challenging.

Skill Level
Intermediate
Ensemble
muswynbergfirstrep

First Repertoire for Solo Guitar Book 1

Simon Wynberg

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The contents of book 1 cover a wide stylistic range with music of interest to adults and children alike. All compositions originally written for the guitar with some works being published here for the first time. Helpful notes are given on performance the selected pieces are designed to be varied and musically for the player.

Skill Level
Beginner
Intermediate
99

Five Bagatelles for Guitar

William Walton

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The Five Bagatelles were written for Julian Bream and dedicated to Malcolm Arnold on his 50th birthday. They were first performed by Julian Bream on 27th May. The five different bagatelles each capture a different mood from the relentlessly upbeat first, the languid second, the smoky, seductive third, the dreamy fourth and the frantic finale. All feel instinctively like guitar music.

Skill Level
Advanced
musryanscenesbrazil

Scenes from Brazil

Gary Ryan

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In Scenes from Brazil Gary Ryan continues the theme of attractive concert pieces from his hugely popular Scenes from the Wild West. The three pieces that comprise Scenes from Brazil draw their influence from a variety of sources including 1960s jazz legend Antonio Carlos Jobim, who played alongside Astrud Gilberto and Stan Getz on the famous Girl from Ipanema. The 3 pieces are titled Junglescape, Rio Bay (from the Corcovado)and Sugarloaf Mountain.

Skill Level
Advanced
musoneplusvol28

One + One Volume 2 (Teachers 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.

certainhits5

Certain Hits 5

David Burden

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10 Songs and Themes from Film and TV. Ticket To Ride; And I Love Her; The Windmills of Your Mind; Pastorale(Vivaldi); The Harmonious Blacksmith(Handel); Plaisir d'Amour; Raindrops Keep Falling On My Head; Scarborough Fair; Eye Level; The Jeeves and Wooster Theme

Skill Level
Beginner
Intermediate
tapasdeespana

Tapas de Espana

Cees Hartog

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Like I Tocca Guitarra the fantastic thing about this book is how Spanish the music sounds!

Skill Level
Intermediate

The fantastic thing about this book is how Spanish the music sounds even when the pieces are quite easy and do not have many notes!

The 12 pieces in Tapas de Espana are more difficult than I Tocca Guitarra and even more fun to play.

All of the pieces are full of contrast in texture and colour.

They are great for developing basic technical skills such as arpeggio patterns, left hand versatility, rasguado and quick articulation, as well as improving feel for changing rhythms and melody with accompaniment.

Guajiras uses alternating 6/8, 3/4 bars producing a driving pulse and carnival spirit.

Boceto Menorca changes from a flowing quaver melody to triplet arpeggios and finishing with a strong, very Spanish bass melody with quick thumb articulation and slurring.

All of this transports you to Spain and the traditional dance forms, colourful outfits and stamping of feet! I think that my overall favourites are La Coruna which has a more mysterious feel with fast arpeggios and subtle harmonic changes, and Bolero which is simply great fun needing well controlled rasguado, fast articulation and a strong "dancing" pulse.

Selina.

musgw2

The Guitarists Way Book 2

Peter Nuttall and John Whitworth

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Book 2 reinforces the skills learned in book 1. We discover quavers, dotted rhythms and two-note chords, as well as sharps, flats and naturals. The remaining bass notes are introduced through a series of carefully graded melodies.

Skill Level
Beginner
329

Christmas Carols

Fabio Rizza

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18 easy arrangements for guitar solo includes titles such as Coventry carol, The Wexford Carol, O Tannenbaum, Away in a Manger and many more. Beautifully printed, no cumbersome page turns, bringing fun and variety to the holiday period.

Skill Level
Intermediate
276

Latin America

Gerald Schwertberger

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This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated. What more can I say?

Skill Level
Beginner
Intermediate

This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated.

Interestingly, in the Preface the composer says “The point of this edition is to introduce guitarists to these dances, with all their appealing banality and stereotype turns of phrase.” In this he has been successful and although (or perhaps because) the music is not deep and meaningful, I was immediately drawn to its life and character and thoroughly enjoyed playing through the pieces.

The pieces are mostly in first position and generally based around chord shapes from which the melodies develop. There is, as you would expect a lot of syncopation, written in such a way that it is not difficult to work out and hear, although you will of course need to count! The greatest challenge is in the tempos; some of the suggested metronome marks are pretty quick and do give excellent results. However the music is still very effective at slower speeds and so provides very good technical development work. He achieves some great effects with rhythm and right hand patterns and each piece has a distinct character.

Highlights for me include Bossa Nova Breeze, which is ‘cool’ and relaxed with good use of chords and emerging melody lines. Nostalgia has a lovely bass melody topped by a syncopated accompaniment that uses some nice scrunchy harmonies. Bamba Samba is simply great fun and Nightwinds has an evocative atmosphere with its combination of rasgueado chords over the melody line.

The final Bossa Nova is a more challenging piece, with a straightforward right hand pattern that goes fast and some interesting harmonies to find.

Overall a book of sunshine that will bring a smile to your face and please and impress your audience.

Selina.

119

Guitar Music for Beginners Vol 2

Musica Budapest

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Skill Level
Intermediate
Out Of Stock Enquire
mussagreraslesson1-3

Guitar Lessons Books 1 to 3

Julio Sagreras

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The Guitar Lessons of Sagreras are among the most universally used collections of guitar music and represent a milestone in guitar didactic literature. Comprising of 6 books in all the Guitar Lessons were an immediate success on their introduction and remain highly sought after today.

Skill Level
Beginner
Intermediate
76

Solo Now Volume 1

Chanterelle

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Volume One of the Solo Now! series contains twenty-five original progressive guitar solos for the beginning classical guitarist. Part of the EGTA Series, Solo Now! focuses on development of a stable yet relaxed right hand position while nurturing correct technique for the left hand.

Skill Level
Beginner

The aim of the three Solo Now! books is to provide the elementary guitarist with a progressive and stimulating collection of pieces that specifically develop one of the most fundamental guitar techniques – that in which the right hand thumb and fingers combine to play mainly broken chord configurations using the tirando stroke.

The main principles behind the EGTA series of didactic music are establishing a good, balanced technique while not putting excessive demands on the hands of young players. Much of the 19th century teaching repertoire is focussed on developing the right hand but in doing so does make life difficult for the left hand! In these Solo Now books, the brief for composers was to concentrate on the right hand while keeping the left hand relatively simple.

Volume 1 concentrates on establishing the sense of “placement” of pima over a set of strings and maintaining a relaxed hand shape while playing across the strings. The left hand is mostly limited to placing one finger at a time, and keeps to 1st position.

In volume 2 the right hand is developed to include playing consecutive notes on a single string as well as more difficult arpeggio figurations. The left hand now has more double stopping and extensive use of 2nd and 3rd positions.

Volume 3 has a lot more left hand work including barre and slurring techniques, and movement over the first 5 positions. The right hand has more varied combinations of fingers, as you would find in most pieces, the culmination of the balanced and relaxed hand technique developed in the previous volumes.

When the aims of the books are laid out like this, it sounds like the pieces are going to be very dreary and technical but that is certainly not the case here. Nor are they very contemporary and difficult to interpret! In addition to the technical ideals, musicianship is the key.

There are lots of stories, feelings and pictures in the music with inspiring titles like “Chatterbox”, “Cowboy in the Saddle” and “Aquarium”. In fact, in looking through these books I have come to realise how important a title can be in giving us ideas and feelings to communicate in our playing.

There is extensive use of phrase lines throughout the series, wide ranging dynamics, articulation and musical indications that get progressively more detailed. There are excellent melodies, especially in the bass, and interesting rhythms that are contemporary but easily accessible through the titles.

In volume 1 “Toy Soldiers” starts the series with an excellent marching bass line maintained throughout; the “Stone Circle” requires thought and a picture to capture the majesty and “Three Ghosts” is marked “dark distant and cold”- a real challenge for the player! “Going for a Spin” at the beginning of volume 2 has a lovely, lilting quaver movement with the melody singing from the arpeggios; in “Ducks and Swans” you can really hear the difference between the graceful swans and quacking ducks – great fun! If you close your eyes at the beginning of “Circles in the Water” you can see the widening ripples and “Whirligig” makes you want to dance with a strong pulse and uplifting melody.

The pieces in volume 3 are a lot busier and more challenging but still continuing the original right hand arpeggio ideas within pieces with 2 and sometimes 3 voices. “Wishing Well” has a beautiful, relaxed melody with some scrunchy harmonies and in “Aquarium” you can follow the fish swimming over the arpeggio accompaniment! “Carillon” is a great finale to the series with a joyful stream of semiquavers forming arpeggios and melodies, syncopated bass notes and exciting harmonies.

These are just a few examples from a wide range of pieces in this series that are written with very important technical considerations in mind but also manage to inspire listening and musical invention, and are great fun to play! Ideal early repertoire.

Selina.

192

The Guitar Music of Spain Vol 3 Bartolome Calatayud

Bartolome Calatayud

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This sort of collection is great since as well as including some well-known and very popular pieces it introduces guitarists to some fairly obscure pieces and less well-known composers. This the third book in a series of three volumes contains the very best of Spanish guitar music. Traditional Spanish and Hispanic music by composers such as Rodrigo, Calatayud, Llobet, Cardoso, Sainz De La Maza and other masters.

Skill Level
Intermediate
Advanced

This sort of collection is great since as well as including some well-known and very popular pieces it introduces guitarists to some fairly obscure pieces and less well-known composers.

This sort of collection is great since as well as including some well-known and very popular pieces it introduces guitarists to some fairly obscure pieces and less well-known composers.

Included are quite a wide variety of styles from within this genre from the brightness and relative simplicity of Bolero and El Majo by Calatayud to the contemporary feel of Pajaros De Primavera by Rodrigo and the rich, romantic melody of Capricho Arabe by Tarrega.

The edition is very good with plenty of space allowed for each piece (which is very important for the amount of notes that some of them contain) and clear musical instructions and fingering.

As for the latter, there is not too much; the Torroba and Rodrigo have none at all allowing much more freedom for the performer even if it takes a little longer to work it out!

If you are considering this book for one or two pieces it is very worth while. For one thing the price is very good for the variety that you get!

Madronas by Torroba (grade 8) is a rich and beautiful piece that really captures the spirit of Spain and highlights the warmth, sonority and lyricism of the guitar as brought to us by Segovia.

Capricho Arabe is also here – a great repertoire standard with its soaring melodic lines and rich harmonies.

Another highlight for me is the music by Sainz De La Maza, which, unfortunately, is not heard so much these days. He uses the guitar very effectively having a lighter, simpler feel and so depicting the vitality of Spain.

There are some big and more complicated and contemporary pieces by Llobet as well as his glorious arrangement of El Noi de la Mare.

Some of these pieces take more working out and effort to learn but the experience is great for any guitarist in learning about musical style, shape and interpretation.

Selina.

59

Impromptus for Guitar

Richard Rodney Bennett

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This is a fantastic little set of pieces, very modern but with an incredibly expressive and often romantic feel. They form one of the many works that Julian Bream commissioned for the guitar from mainstream, twentieth century composers, so expanding the repertoire and giving us fantastic opportunities as guitarists to widen out musical knowledge and technical skill. Impromptus 1 to 5 for guitar, Universal Edition.

Skill Level
Intermediate
Advanced

This is a fantastic little set of pieces, very modern but with an incredibly expressive and often romantic feel. They form one of the many works that Julian Bream commissioned for the guitar from mainstream, twentieth century composers, so expanding the repertoire and giving us fantastic opportunities as guitarists to widen out musical knowledge and technical skill.

These pieces are small in stature and huge in content, requiring the guitarist to go beyond the ‘norm’, and possibly also beyond their comfort zone and range of experience, but in a ‘friendly’ way, exploring different sounds and colours, shaping intervals and long melodic lines, and experimenting with dissonant harmonies and subtle mood changes.

The use of the guitar is just brilliant, treating it like a ‘micro’ orchestra and the player like a true conductor.

There are big contrasts between the movements with very different moods created through the use of phrasing, articulation harmony and beautiful melodic intervals that really make you think and listen in new ways.

Number two is marked ‘agitato’ and has an angry, driving opening with rhythm and dissonance being the key to the emotion. The pulse is a very strong 3 in a bar with occasional upset and uncertainty caused by a rhythm of 4 against this. In contrast the middle section has a soaring and passionate melodic line which has a much freer feel to it before the opening section returns using very fast repeated semiquavers to enhance and drive the music further. The agitation culminates with a sforzando B harmonic to finish – nothing held back!

Number three is full of the most exquisite harmonies enhanced by the 6th string tuning to E flat. Shifting rhythms and wide dynamics create a dark atmosphere with melodies rising and falling, building tension from within the brooding bass resonance. There is so much space and texture in this movement requiring excellent control of RH technique for tone, colour and articulation.

The contrast as you move into number four is sudden and stark with hurried, urgent and agitated passages of pizzicato notes punctuated by strident, rhythmical and dissonant chords creating a fantastic build up of tension and sound. Again the contrast within the movement is provided by two forceful and passionate melodies, very wide in range of pitch and finishing with a fantastically strong sff dissonant chord. The agitated pizzicato then returns building to a huge fff climax. The movement is marked Con fuoco and really gives the player to let rip and experience the raw emotion of the music.

This bombardment of sound and tension is very suddenly released in number five. Marked Arioso this is a beautiful and simply melody accompanied by an ostinato figure and gently rising and falling. The overall emotion is melancholy, becoming fuller and more emotional as the melody rises and then returning to its beginnings. The final crescendo leads up to some forte chords but, unlike the previous movements these are rich and sonorous, leaving behind the fire, unrest and passion. The music falls from this point with a wonderful, rich and rhythmical melody of dotted notes, triplets and semiquavers into the lowest register and then pauses, suspended on a low B flat before a return of the first theme from number one, molto tranquillo and dying away to nothing.

This work is really made up of miniatures but hopefully you can see from this review that they are packed full of interest, technically of course but more importantly musically.

I love a chance to create an orchestra of sound and texture on my guitar and to see how sound creates emotion. With this piece you can really experiment. Yes there are some difficult techniques although the writing always makes the most of the guitar’s natural abilities. Once you have the control the world is your oyster.

Selina.

315

Elogio de la danza

Leo Brouwer

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A much loved and often performed piece that will test your technical and interpretive abilities yet give a great sense of achievement when mastered. The two movements Lento & Obstinato have been clearly printed making for easy reading and page turns are well catered for.

Skill Level
Advanced
300

Estudios Sencillos

Leo Brouwer

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Etudes simples volume 1 studies 1-5. These are a must for any aspiring guitarist. Leo Brouwer's attention to musical and technical detail stretches the player encouraging expression and freedom of movement.

Skill Level
Beginner
Intermediate

This is definitely a case of good things come in small packages, a classic edition for the classical guitar, unchanged since its first publication in 1972.

The ‘book’ consists of an A5 piece of card for the front and back covers and an A5 piece of paper that provides 4 pages for the printed music, however within this the music is excellent and essential repertoire for any beginner or intermediate guitarist, as well as offering great technical and musical practice for those of us who consider ourselves more advanced.

These 5 pieces are wonderful miniatures packed full of musical and technical detail covering articulation, syncopation, voicing and a wide range of colour and dynamics. The use of descriptive words is also great including “movido’, ‘cantando’ and ‘sonoro’, descriptions that are so evocative and good for your musical knowledge!

There are great bass melodies in nos.1 and 4 with an upper accompaniment of repeated thirds (chords) requiring technical and rhythmical control. The shifting time signature in no.4 gives it lovely flow and overall movement. No.2 consists of very slow moving chords highlighting balance and voicing with some wonderful dissonant and emotional harmonies. No.3 concentrates on rapid articulation and no.5 is beautifully lyrical despite some quirky harmonies and fantastic syncopation.

Great, musical and emotional pieces that really help you to develop your technique.

Selina.

mussmithsonatano4

Sonata No 4 La Breve

Reginald Smith Brindle

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Smith Brindle began learning the piano at the age of six, and later took up the clarinet, saxophone and guitar (and won a Melody Maker prize for his guitar-playing). Although he wrote for many instruments, Smith Brindle was perhaps best known for his solo guitar music.

Skill Level
Advanced

This is contemporary music and as such is often difficult for students to attempt, as they are not used to the dissonances and unusual melodic and harmonic shapes, that is, there is not necessarily a ‘tune’ to sing!

I have not played any Smith Brindle for years for this very reason and so came to this review with some trepidation.

It is definitely music that you have to keep playing to start to get an idea of what there is to communicate.

Here the music is very well laid out with plenty of space between staves, helpful fingering and lots of musical clues, i.e. espressivo and echo.

In the first movement there are contrasting fast and slow sections with repetitions that help you to navigate your way through the music as well as rhythmic and melodic motifs to latch on to.

The rhythm is very important but not too complicated to count and learn. Once you have this, the shape of the piece can emerge.

The slow middle movement uses the resonance around clashing and harmonic chords to good effect and forces you to really listen to what happens to the sound after you have played the strings. In fact this is an important point about contemporary music – the melody or flow of the music is not always obvious and so you have to listen more and you cannot only concentrate on fingers!

I liked the last movement the best. The rhythms are great with lovely dissonances that together are exciting.

If you can be open to new sounds this music is great for developing reading and fingerboard knowledge. It helps you to find and develop moods and means of expression on your guitar and is very open to your interpretation, but with plenty of ideas toget you started.

Selina.

carulli-duo-op62-no3

Carulli Duo op. 62 no 3

Ferdinando Carulli

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CH 83 - Written for 2 guitars. Carulli, one of the most prolific composers of his century with at least 400 pieces to his name. A pioneer in his field he popularised the classical guitar in Paris where many guitarists came to study under him. This edition, for two guitars, is clearly printed with both score and parts. Fingering is absent which is great as this allows freedom for ones own interpretation.

Skill Level
Intermediate
Ensemble
  • Containing
  • Moderato
  • Larghetto molto sostenuto
  • Trio
  • Rondeau - Presto
musscarlatti4sonatasUE29179

Four Sonatas UE 29179

Domenico Scarlatti

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Sonata K83 is one of the minority with more than one movement. The forst contains some startling dissonances, produced by adventurous contrapuntal activity, typical of Scarlatti's impish disregard for the established rules; the second is a minuet. Sonatas K80 and K94 are both minuets. Scarlatti is often difficult but he springs too many surprises ever to become boring.

Skill Level
Intermediate
Advanced

Scarlatti’s music is very effective on the classical guitar having originally been written for the harpsichord, which, even though it has a keyboard, is a plucked string instrument.

The music is clearly printed with plenty of space in the layout, and even though there is too much fingering advice in my opinion, the page does not look overcrowded or cluttered with numbers giving the player a feeling of choice!

There is a short but comprehensive forward well worth the read as it gives a concise summary of the harmony and style of the pieces, enough to help you to start to understand the pieces. For example he mentions “startling dissonances” and “adventurous counterpoint” – definitely attracting my interest before even starting to play.

There is also a paragraph explaining the notation and fingering at the end of the book.

Duarte uses the interesting (and wonderful) tuning of 6th sting to D and 5th string to G for the first two pieces. Don’t let this put you off! It does not take long to get used to and really helps the music to sit naturally on the guitar.

I particularly like the lilt of the triplet semiquavers in the second piece with the tuning creating a lovely open bass.

Watch out for the misprint at the end of the second piece – the bass note should be a G! The third Sonata maintains a steady crotchet pulse with shifting rhythms above and continuously moving chords with fascinating harmonic changes, while the final piece challenges you with the counterpoint of two very separate voices and lots of drama in the music.

These are all interesting, and less obvious, choices giving us a clear insight into the Baroque style of Scarlatti with its distinctly Spanish feel.

As Duarte says “ Scarlatti is often difficult but he springs too many surprises ever to become boring!

Selina.

94

Cavatina

Alexandre Tansman

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Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy. Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

Skill Level
Intermediate
Advanced

The last time that I played part of this suite was when I was doing exams myself too many years ago to mention! It is brilliant to revisit and realize how much there is in the music in colour, texture and expression. In fact since I have started reviewing I am going to be learning and relearning a lot of different and exciting pieces!

Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy.

Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

The opening ‘Preludio’ (grade 8) is marked Allegro con moto and has a bright and rhythmical opening section using motifs and patterns that help the ear to learn the style, along with more chromatic writing. The central section is slower with a lovely singing melody line.

The Lento ‘Sarabande’ (grade 7) has a tranquil melody built around a wistful triplet figure with contrapuntal voices and lovely harmonies created from suspended notes and gentle dissonances. I particularly like the long, singing, mellow bass lines – great for shaping and developing tone.

You then have to turn to the final page of the edition for the 3rd movement, ‘Scherzino’ (grade 8). This has a tremolo opening with a subtle build up of tension leading into the Piu vivo that echoes rhythm patterns from the 1st movement. There are lots of left hand patterns, falling sequences and rhythms that cross the bar lines. There is a great, ‘bouncing’ central melody with a fanfare type ending building chords across repeated bass ‘E’s, again echoing the beginning of the suite.

Turning back a page the final ‘Barcarole’ (grade 7) has a 6/8 rhythm, starting ‘dark’ and opening into warmth and light with a lovely lilting movement over the full range of the guitar.

This movement was one of my first experiences of more contemporary music, and a very good one since I have continued to enjoy exploring new music over the years.

It is great that this music is back in the syllabus and I hope that many more guitarists will be adventurous in exploring this classic and important repertoire.

Selina.

220

Theory of Music Workbook Grade 6

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
Intermediate
71

33 Czech Folksongs - (Teachers Part)

Peter Eben

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Learning to phrase melodies is the goal in this well chosen selection of folk songs by leading Czech composer Peter Eben with teacher's accompaniments.

Skill Level
Beginner
rodrigofantasiagentilhombre

Fantasia para un Gentilhombre

Joaquin Rodrigo

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Arranged by Andres Segovia. This edition: GA208. Gitarren-Archiv (Guitar Archive). Contains a Piano Reduction with Solo Part. 50 pages. Published by Schott Music.

Skill Level
Advanced
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