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 193 - 216 of 289

Sheet Music Database

guitaristway1

The Guitarists Way Book 1

Peter Nuttall and John Whitworth

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Book one leads to the playing of simple melodies on the top 3 strings, whilst developing a secure technique in both hands. A few bass note are then introduced, followed by pieces which combine a melody with a simple bass accompaniment.

Skill Level
Beginner
musweiss

Weiss for guitar

Silvius Leopold Weiss

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It is great to see these two collections being published, as the music is often difficult to find and choose when students reach the technical level required.

Skill Level
Advanced

It is great to see these two collections being published,as the music is often difficult to find and choose when students reach the technical level required.

I was especially impressed with the Weiss collection where the 10 movements chosen (from a huge repertoire of suites) work very well as stand alone pieces and transfer beautifully onto our 6 string classical guitar, without the player having to perform too many acrobatics and without losing the musical flow.

It is very important to introduce the repertoire of these two composers to guitarists as soon as possible. Weiss because he was a contemporary of Bach and wrote pieces of high quality and, arguably more suited to the guitar, and Scarlatti whose harpsichord music helps to develop a feel for the Spanish Baroque style where the guitar can recreate the textures of the harpsichord very well.

The editions are clearly set out and printed with excellent historical notes at the beginning of each volume. These notes are very informative and useful for the technical and musical interpretation of the pieces.

For the Scarlatti there is some background for individual pieces, as well as musical ideas and explanation of ornaments.

For the Weiss there is a more general history of how he wrote for the Baroque Lute developing the instrument to include 13 courses, and of his main format for composition, namely the suites of dance movements.

I particularly found useful the explanation of the Prelude or Fantasia, a form represented in the first piece in this book.

The Scarlatti pieces all fit the guitar well although the last two are technically complicated. My favourites are 3, 5, 6 and 7 from which I felt I could really get a lot of musicality, texture and rhythmic drive.

All of the Weiss movements are lovely with a lot of contrast to be found between pieces. The player can get a real feel for the dance styles and sophisticated harmonies that Weiss used. My highlights are the Rondeau and Sarabande (5 and 6), Paysanne (8) and Courante (9).

The only thing that I would like to have seen less of in these editions is fingering, especially for the left hand. The music is complicated and it is nice to have fingering advice but I found that it hindered my initial reading of the pieces and so it ended up taking me longer to become fluent!!

It is good for students and teachers to work out the best fingering for themselves through trial and error - in my experience you learn more thoroughly and have a better understanding of reading and technique this way.

Overall, this is excellent source material for any guitarist, not only to be used for exams but as essential repertoire. It is also beautiful and detailed music that all will be able to enjoy learning and mastering.

Selina.

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280

Segovia - Albeniz Transcriptions

Isaac Albeniz

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From the front cover to the back page this is a beautifully printed edition of these wonderful pieces by Albeniz. Granada, Mallorca, Oriental and Zambra Granadina are printed in such clarity with space to allow easy reading of the music. If you love the music then you should definitely try this edition.

Skill Level
Advanced

I think that this is a lovely volume of pieces, firstly because of the historical significance of Segovia as a player and as an arranger. Segovia brought a lot of new music into the guitar repertoire through commissioning and arranging, making a big contribution to the development and success of the guitar in the second half of the 20th century.

Now that our technique and interpretation ideas have moved on these arrangements are often not considered any more. Of course there are so many editions available now and access to original scores is much easier with the internet, but I think that Segovia’s transcriptions are really worth looking at.

The book is very well presented, simple with large, clear print and wide spacing between staves – plenty of room for your notations. There is plenty of fingering but it is not unnecessarily repeated (e.g. in repeated sections) and on the whole it is very good. Do not be afraid to change it as long as you consider the flow of the music! Rather than just giving the guitarist the notes from the original piano Segovia has arranged these pieces to fit on the guitar technically and musically which is quite a skill.

Chord voicing and pitches are obviously going to have to change and it has been done in such a way as to allow the music to flow comfortably under the fingers and to feel and sound natural. Segovia also exploits the natural features of the guitar, which actually enhances the music.

Moving beyond the arrangements the music itself is gorgeous, rich in Spanish character, colour and emotion. I love the beautiful, gentle pulse at the opening of Granada with the contrasting minor section and overall movement and drive in the music. The D tuning in Mallorca gives a wonderful resonance to the bass line balancing the long, soaring melody with comfortable left hand movement over the whole range of the fingerboard. The close position chords in Oriental are fantastic and again fit very well under the fingers creating great textures and musical drive, and the rich harmony and wide range in melodies and chords in Zambra Granadina are just wonderful, particularly for me as I love low notes!

There is no doubt that these pieces are difficult to play and require good technical, rhythmical and listening skills, but they have been arranged for the guitar in a very sympathetic and natural way that gets the best from the music and the guitar making them well worth the effort.

Selina.

117

Renaissance Dances

Karl Scheit

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The musician or musical amateur of earlier times used to have a book in which were collected pieces that suited their musical tastes and technical abilities. This edition contains the following dances Allemand, Balletto, Galliard, Pavane and Villanella.

Skill Level
Intermediate
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mussagreraslesson4-6

Guitar Lessons Books 4 to 6

Julio Sagreras

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One of the most successful classical guitar methods of all time. The studies in each book are carefully fingered and graded. They are charming, melodious and extremely effective with some of the later studies making convincing concert repertoire.

Skill Level
Intermediate
Advanced
75

First Guitar Pieces

Gerald Garcia and John Whitworth

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A very popular collection of eight attractive pieces, drawn from many parts of the world. The pieces are suitable for the elementary player who is ready to study music in two voices, and have been chosen for their musical value whilst remaining within strict technical limits.

Skill Level
Beginner
muswanders3ofakind

three of a kind

Jeop Wanders

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The book has three sections: 10 rhythmic studies, each focusing on a particular rhythm which is introduced in each piece by a 2-bar phrase. 10 arpeggio studies, each based on a right-hand pattern. 10 legato studies, descending and ascending slurs and a mix of both. These studies are a valuable contribution to the beginner's technical development. Difficulty level grade 2/4

Skill Level
Beginner
Intermediate

These short studies offer a wide variety of techniques, and are generally universally helpful in improving your playing.

Grades 2/4 on the site, but looking in some of the grade books I think some grade 1 players would benefit from the easier ones?

The first ten studies are rhythmic, and Wanders gives an ‘example rhythm’ below the title to let us know exactly what it is we are meant to be practicing. As with most books they start off simple and move to more complicated rhythms with dotted notes and semiquavers. This is great for learning to recognise rhythms and improving sight reading; there is also fingering in some of the pieces, reminding us to alternate and to be aware of the finger we are using with any given note. Wanders also reminds us that even though these are studies, they are not necessarily ‘un-musical’. He writes performance directions which encourage us to and add colour to the notes making the music more exciting.

My favourite studies in this book are the arpeggio studies, they are great right and left hand exercises suitable for any standard of player; I will be incorporating these into my practice regime as warm ups! No.12 – Basso Chromatica is particularly good as it offers variations on the original [p i m a] quaver pattern. We are encouraged to be musical with No.14 – Prelude on the B-String in order to bring out the melody that is closely interwoven with the accompaniment. There are a nice variety of styles in this book.

Last in the book are the legato studies. These are excellent for building up strength and balance in the left hand as they require 2 and 3 note slurs that need to be even. They are musically engaging and you will definitely find yourself singing them hours after practice. This book would be perfect as a prelude to starting the Sor or Carcassi studies.

Jess.

musdivertissements2

Divertissements 2 Pour Guitar

Gerard Montreuil

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11 Popular pieces written in order to stimulate the beginner's interest and to improve the learning of the guitar. These entertaining pieces will please players and listeners alike.

Skill Level
Beginner
Intermediate

These are a nice range of pieces written in a variety of musical styles.

My favourite thing about this book is Montreuil’s phrasing. He has taken time to write specific phrasing into the music, in his words, “in such a way as to show several possibilities of articulation”. This really makes you think about how the music is constructed and how different inflections can give a piece new life. With this in mind, these pieces are musical and fun to play.

Each piece is crafted to develop different skills; the two tangos introduce the player to syncopated rhythms and complex semiquaver rhythms, and are great when played with gusto! Unusually for beginners pieces, Crépuscule and Emeraude are slow burners; this helps the player to develop a sense of space in the music, improving musicality no end as the player learns not to rush through the music. Montreuil has written more interesting chord progressions into Emeraude, making the harmonies lush.

Other techniques are covered toward the end of the book, such as strummed chords (Orgue de barbarie), and the last piece (Premier Amour) is beautifully lyrical, making use of notes higher up the first string and harmonics. Overall, these are simple yet memorable melodies with interesting musical lines that provide you with an arsenal of pieces to entertain as well as enhance your playing.

Jess.

musabtheory1

Music Theory in Practice, Grade 1

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 1 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
299

Café Music

Michael Stimpson

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Suite for Solo Guitar, was originally conceived as a reflection of the lighter styles of music written for the classical guitar. The character of the suite is predominantly preserved by the contrasts of mood between pieces. Adrian's thoughts - I was introduced to this book many years ago and thoroughly enjoyed the challenge.

Skill Level
Intermediate

This is descriptive music at its best with storytelling created using harmony and texture as well as through title, tempo and rhythm.

In order to communicate the music successfully the player has to be aware of the musical detail and be interested in the emotions and stories being told.

These pieces provide excellent experience in developing musicianship with a lot of detail written in to each piece, for example articulation, dynamics and tone colour. This also challenges the player technically but in the end it is thinking of, and listening to, the music that must be the most important thing.

Ouvert, a gentle introduction with warm cross string resonances, slurs and glissandi that all combine to create atmosphere. I love the closely spaced “talking” voices.

Promenade has a strong storyline and lots of contrast between the repeating, stately ‘promenade’ phrases and sections between. The first of these changes key and uses triplets and warmer colours to give a light and fluid feel. The second is slower and more tranquil while the third is in a minor key and lower in pitch with some lovely dissonances giving a darker feel.

Reverie is slow, sad and dreamlike using a repeated melody in different registers. It requires a lot of tonal control with a beautiful combination of tambora chords and harmonics at the end.

Folies is all in thirds and so the angry and bustling feel is quite tricky technically but very exciting all the same! I particularly like the arpeggios across the strings in thirds at the end.

Chanson is a joyous and flowing piece, again more challenging with barres and flowing arpeggios incorporating an upper melody to highlight.

Ferme is the finale and has great lift and rhythm with plenty of articulation, dynamic contrast and rasgueado technique.

These are great little pieces guaranteed to keep you occupied for months and very effective in performance.

Selina.

musponcevalse

Valse

Manuel M Ponce

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Ponce was in fact born in Mexico City but by 1904 was living in Europe where he studied music in Bologna and Berlin. In 1925, after a spell back in Mexico, he was inspired to make the move to the French capital. It was a stay that was to last seven years and was arguably his most creative period. It was when he met Andres Segovia in 1923 that he began to compose music for guitar.

Skill Level
Advanced

This is a new to piece to me and I enjoyed playing through so much I have decided to learn it properly!

It is so full of life making full use of the powerful resonance of a guitar with dropped ‘D’ tuning.

The strong and bright main theme has an almost ‘rustic’ feel accompanied by full strummed chords and moves at a lively one in a bar pace.

The articulation and musical directions are detailed and need good control, the articulation particularly bringing loads of texture and shaping to the music.

The main theme has a lot of contrast in register and dynamic and is repeated throughout the piece giving it its structure with great, unexpected harmonies and twists in direction in between.

The centre section changes key to B?. It has more chromatic movement and emphasis on melodic lines in the treble and bass with fewer chords in the accompaniment texture.

I love the falling bass line building up to the return to D major. In contrast to the full and energetic theme the ending is ‘grazioso’ and understated – a lovely surprise!

This little Valse has fantastic movement and swing throughout, making full use of the tone colours in the guitars voice, and leaving you with a definite ‘feel good’ feeling – an excellent little repertoire filler.

Selina.

bach-chaconne

Bach Chaconne BMV 1004

J. S. Bach

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Chaconne from Partita for violin No2 for guitar solo transcribed by Paolo Cherici. Adopting Bach's own criteria for transcription Cherici has been able to adapt the violin writing to the guitar helping to bring out the natural resources of the guitar. At the same time fingering has been considered to help suggest a possible phrasing.

Skill Level
Intermediate
Advanced
musdodgson12intros

12 Introductory Studies for Guitar

Stephen Dodgson and Hector Quine

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These introductory studies are intended to introduce the player to a wide range of technical and musical challenges. A good sense of rhythm and counting are called for to help develop right hand articulation and left hand independence. Many of the rhythmic patterns need to be mastered if one is to advance to the higher grades in classical guitar exam syllabus.

Skill Level
Beginner
Intermediate
91

The Guitarists Progress Book 3

David Burden

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The Guitarist's Progress Book 3 - A selection of the best 19th Century works for guitar. Music for the intermediate stages of classical guitar playing, arranged by David Burden.

Skill Level
Intermediate
muswanderslatinduetsvol1

Latin Duets Volume 1

Jeop Wanders

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Book 1 is a great place to start for those interested in duet playing. Clear and easy to read this first book in the 2 book series offers each player music in two part harmony with a variety of rhythms that introduce the Latin feel and best of all the music is fun. Joep Wanders style of writing suits the guitar beautifully and you will gain a huge amount of confidence from playing these pieces. A play along CD is also included.

Skill Level
Beginner
Intermediate
Ensemble
71

33 Czech Folksongs - (Pupils 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

These beautiful, melodic, yet simple pieces have been arranged for 2 guitars from Petr Eben’s setting of 100 Czech folk tunes for solo piano – an achievement that he described thus:

Reach into the jewel box, take a handful of precious stones and set them into children’s rings!

The pieces are ideal for early learning as they emphasize the playing of melodies in low and high registers, shaping phrases and bringing out articulation. The pupil part always has the original melody with the teacher as purely accompaniment.

There are suggestions for right and left hand fingering which the preface advises teachers to follow, as they have been included for essentially musical reasons.

This is very enjoyable and charming music that also teaches style and interpretation and, most importantly for guitarists, how to follow a melody. Beginners are learning primarily how to sing a melody through the guitar, a vital first step in musical development.

Grade 1

  • The pipes were playing at Pobuba: emphasizes smooth phrasing across strings with lots of dynamic contrast, using i, m and a.
  • Oh love, oh love: this is a very simple, slower melody with echoing phrases in octaves, and concentration on phrase shape, hairpin dynamics and expression.

Grade 2

  • Andulichko, hello: a lively melody in 3/4 time, G major; question and answer phrases with repeat down an octave and fingering in third position.
  • When I took geese to the pasture: very strong quaver rhythm in 2/4 time, D major, that really brings out the character of the geese!

Grade 3

  • Whose are these geese? : quite a melancholy melody requiring long phrasing and detailed dynamic control. The first melody is repeated down and octave and then again in thirds.

Selina.

musabtheory7

Music Theory in Practice, Grade 7

ABRSM

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Covers all aspects of the Grade 7 Theory of Music examination. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Skill Level
Advanced
320

Scenes for Guitar Book 1

Gary Ryan

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Hopefully you will find something to enjoy in this collection of ten pieces for guitar (which I like to think are the kind of pieces I would have enjoyed learning). I have certainly enjoyed writing all of them and always try to incorporate useful technical and musical ideas into each one to create a particular image or mood. Gary Ryan

Skill Level
Beginner
Intermediate
musplayford

Playford Fantasia

John Whitworth

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This imaginative and evocative piece is a continuous set of variations on the English dance tune Goddesses, and provides a rare opportunity at this level to play and experience a work of real substance. It has a distinctive English flavour.

Skill Level
Intermediate
musicbrouwer3

Nuevos Estudios Sencillos.

Leo Brouwer

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A group of studies covering various techniques such as arpeggio, staccato, legato, afro-cuban rhythmic patterns, tremolos, partial barre, this is an essential book for the committed student.

Skill Level
Beginner
Intermediate

I have always been a fan of Leo Brouwer’s music and so was immediately drawn in to these studies with their great use of the guitar and "natural" technique that compliments rather than fights the music!

Like Brouwer’s "Simple Studies", they provide varied technical and musical skills as well as training the ear to the more unusual sounds and dissonances of modern music which is very important in the development of the young (and not so young!) budding guitarist.

At the same time Brouwer manages to keep the music very lyrical, linking each study to a composer (homage to…) which heightens interest!

My only worry is the statement in the notes for study number one that the collection is for beginners or children. I think that these pieces would be of benefit to, and enjoyed by players of any age, but possibly suited to those with a bit more experience since the notation, rhythms and voicing is quite tricky in places.

I would place them at a grade 3 to 5 level, possibly 6 if all the tempo and articulation markings are kept to (for our database beginner/ intermediate)

Each study has written notes which clearly explain what is required and what to focus on.

The music requires clear dynamic control, careful articulation even between voices, pinpointing melody within arpeggios, legato phrasing and syncopated rhythms. There is simply loads to work on in each piece!

My favourites are Tarrega (no. 5) with its minimalist style, tremolo development and strong echoes of Brouwer’s Decameron Negro; Prokoviev (no. 4), which has an excellent, rhythmical bass melody; the lovely harmonies and chord melody in Villa Lobos (no. 8) and the beautiful simplicity of Szymanowski (no. 9).

Overall, this collection of pieces would be of great benefit to players of all standards and I particularly like the link to composers that will hopefully encourage young people to explore different kinds of music. Importantly the strongest element of "study" here is musical – excellent!

Selina.

289

Specimen Aural Tests 2011 Grades 4 & 5

ABRSM

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Aural tests are an integral part of all ABRSM Practical graded music exams. The Specimen Aural Tests provide teachers and students with many practice examples of the tests to use as part of a music lesson or when preparing for an exam. This volume covers Grades 4 & 5 and includes practice examples for each test in a range of musical styles the examiner rubrics (the exact words that will be used by the examiner to deliver the tests), so that candidates can be fully prepared for what will happen on the day. Descriptions of the tests as they appear in the syllabus model answers, where appropriate, as a guide to the sort of responses that would be successful in the exam. The Specimen Aural Tests come complete with 2 CDs.

muspernambucochorosvol1

Famous Choros Vol. 1

Joao Pernambuco

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This series presents a selection of the most popular and memorable works from the wealth of 20th Century Brazilian guitar music. Emphasis has not only been placed on the selection of works, but significantly, great care has been taken to choose the best versions, which in many cases are being published for the first time.

Skill Level
Intermediate
Advanced

This music is great fun to play and very rewarding in also being music that people love to listen to!

The pieces have real spirit and style with driving rhythms, singing and syncopated melodic lines and some excellent bass melodies.

The word Choros came to be the name used for music played by ensembles of Brazilian street musicians (called Choroes) and this loose and lively style is captured very well in these arrangements.

The pieces use the full range of the fingerboard and offer a great deal in terms of expression, dynamics, texture and colour. In fact they are technically challenging for both hands as well as our counting ability and being able to follow their melodic and harmonic progression.

The music is very clearly printed and well edited giving the player as much help as possible without over fingering or creating too much clutter on the page.

For example Brasileirinho uses arpeggio patterns across the strings creating campanella effects that require ‘alternative’ fingering. The writing is clear and easy to read, with the position being indicated by a string number for the first note of the chord. This clue helps you to find the position but you still have to do most of the work meaning that you are constantly learning notes in new positions!

Sons de Carilhoes (Maxixe) is a very popular piece on the guitar and is presented here in 2 versions. The piece has fantastic movement and requires great dexterity around the fingerboard. The syncopated rhythms and ‘sing along’ melody carry you through Dengoso, and I love the contrasting bass and treble melody in Grauna with a brilliant build up to the repeat of the main theme.

Another favourite is Po de Mico. This piece is really quite virtuosic, moving quickly around the fingerboard in single lines and chords. The musical pace is exhilarating but the melodic lines still need to sing and the rhythms need to be clear enough to drive the music.

These pieces are by no means easy but the finished result is so enjoyable that they are well worth the effort, and remind me the main reason I play, and that is simply enjoyment!

Selina.

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musnoadrenaissance

The Renaissance Guitar

Frederick Noad

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Although separated in time from us by almost four centuries, the late Renaissance provides a most fruightfull and enjoyable source of music. The tunes are lively and straightforward and most importantly some of the best composers of the period were writing for plucked instruments. In the Renaissance period the repertoire for plucked strings was the largest and most important body of instrumental music. CD included in this edition.

Skill Level
Beginner
Intermediate
Advanced
105

Pumping Nylon

Scott Tennant

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Scott Tennant, world-class classical guitarist and well-respected guitar eduactor, has brought together the most comprehensive technique handbook for the classical guitarist. In addition to technical information not available elsewhere, he has compiled selections from Giuliani's 120 Right-Hand Studies; musical examples by Bach, Turina, Rodrigo and others;Tarrega arpeggio studies; and original compositions by Andrew York and Brian Head. Essential information and a great sense of humor are effectively combined in this best-selling book.

Skill Level
Advanced
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