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

68

The Young Guitarists Progress Part 1 GM39

David Burden

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Designed for young beginners learning individually or in groups. The New Things Sections introduce new notes, rhythms and techniques in a structured and entertaining way. Solos, duets and ensembles, including: The Batman TV Theme, Colours Of Day, The James Bond Theme and many more.

Skill Level
Beginner

The layout and printing in this book is excellent with notes slightly larger than normal, and space and pictures between pieces.

There are lots of well-known tunes in good arrangements, and I especially like the amount of solo pieces written in 2 voices using simple open basses. These provide invaluable experience for beginners at reading and playing two note chords, when books often move onto more difficult, fingered chords very quickly.

This book is clearly linked to The Young Guitarists Progress, Part 1 and its sections called "New Things 1-7, 8 and 9, 10" etc. However, it works perfectly well on its own since each "New Things" is fully explained. For example, "New Things 10 – playing with the thumb and fingers together, the bass 5th and 6th open strings and dotted crotchets."

Technically the book includes dotted rhythms, music with 2 voices and 3 note chords, tied notes and melody within simple arpeggios. There is even some simple syncopation in an excellent and very accessible arrangement of Eleanor Rigby.

The final section of the book, on ear development includes some copycat exercises, pentatonic and blues scales, and simple ideas on improvisation. This is all very valuable and something that we should introduce to pupils as early as possible.

Grade 1

  • Les Bouffons: a straightforward melodic arrangement of a well-known French traditional piece using the open D string as accompaniment. Cheerful and rhythmical!
  • Waltz in G: a flowing piece based on very simple arpeggios and chords, using up to 2 left hand fingers on strings 1, 2 and 3.

Grade 2

  • A La Mode de France: this is in D major and mostly fingered in second position. Question and answer phrases using the same rhythms including dotted crotchets.

Selina.

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musmagicguitarveryeasypieces

Magic Guitar Very Easy Pieces (la Guitare Enchantee)

Paul Gerrits

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Book One of The Magic Guitar series, containing twenty-seven graded very easy pieces, selected and edited by Paul Gerrits. The Magic Guitar series presents a collection of pieces suitable for the first years of classical guitar study, designed to be used along with a method. The main purpose of The Magic Guitar is to give beginning guitarists the opportunity to express themselves musically at various stages of their technical development.

Skill Level
Beginner

These two volumes offer a wide range and variety of music for guitarists in their first years of playing.

At first the emphasis is on developing melodic playing combined with simple bass lines but even here the student is challenged with detailed phrasing, tied notes and right hand techniques like the arpeggio pattern in "Etude" by Carcassi.

Contemporary, Classical and Traditional styles are all mixed together helping to maintain interest and offering something for everyone, for example the popular "Greensleeves" (it is always particularly satisfying to be able to play a piece that everyone recognizes!).

As the books progress the music becomes more detailed.

The first book works up to the use of thirds in the melodic lines, more complicated bass lines requiring sustained fingered notes and up to three fingered notes together – notably in no.16 "Theme et Variation".

In "Chanson Populaire" the melody to bring out is in the bass and "Souvenir d’Espagne" introduces rasgueado chords and flamenco triplets.

The second volume includes more detailed counterpoint and requires greater musical understanding.

Higher positions are explored here, for example in "Etude"” by Coste and there is a nice mix of arpeggio style and purely melodic pieces.

I particularly enjoyed the collection of classical pieces, "Marlborough" which is an effective arrangement of this traditional melody, and the final "Valse" which is simply great fun to play and listen to!

Selina.

musabguide1

The AB Guide to Music Theory, Part I

ABRSM

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Provides an introduction to the basic elements in harmony and musical structure covering the basics of rhythm and tempo. An introduction to pitch, intervals and transposition, articulation, ornaments, and reiterations. This Guide is not only an excellent support to a good syllabus but also a fine reference work in its own right.

Skill Level
Beginner
Intermediate
303

Half Moon

Peter Nuttall

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A set of rhythmic pieces, together with a set of lyrical melodies and cool harmonies. Nostalgic, romantic, blues, stomping! These colourful pieces are beautifully written for the guitar and a delight to play.

Skill Level
Beginner

It is lovely to have a new collection of pieces from Peter Nuttall.

His music is so good for beginner into intermediate players because it is always musical, interesting and has focused technical requirements meaning that the player is not having to think about too many different things at once.

Half Moon is a set of lyrical and accessible pieces, never getting too technically difficult but certainly challenging in musicianship, interpretation and reading and counting rhythms. Peter says in his introduction that “They are written in a variety of styles….and make use of common guitar techniques and idioms. Style is always more important than speed.” This second comment is so important in our development as guitarists, and is something that we often forget in our efforts to improve our playing.

For me the pieces are summed up by the words atmosphere and character. If we keep these in mind then we can have great fun exploring the music, experimenting and listening.

Peter has grouped the pieces into 2 sections, First half – rhythmic, Second half – lyrical. This is an excellent idea for variety and focus in learning and also for programming performance! The idioms that he talks about in the preface are types of guitar writing like arpeggio style that includes melody, a single line melody that incorporates tune, bass and harmony or a 2 voice melody and accompaniment style. He has kept technical requirements very straightforward with no full barres or awkward finger movements.

The time signatures are varied with plenty of tied notes and syncopation (off beat) to keep us on our toes and counting. There are some lovely, interesting and quite unusual harmonies as well always encouraging us to listen.

I love the jazz feel of the triplets in Before you go and the distinctly Celtic feel of The Western Isles which, to look at, is all single notes but creates melody, harmony and bass with a lovely relaxed and sustained feel. The contrasting sections in Jig are great and really give you the feel of the dance whereas in complete contrast, and my favourite, At the end of the day is a beautiful and evocative piece. The harmonies are simple but so effective enabling you to get lost in the music. Perfect!

Selina.

287

Aural Training in Practice 2011 Grades 4 & 5

ABRSM

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Aural Training in Practice offers valuable support to teachers preparing students for ABRSM Practical exams. The three volumes, covering Grades 1-3, 4 & 5 and 6-8, provide information on what each test involves and what the examiner is looking for teaching hints and strategies, including warm-up material and ideas for integrating aural into lessons. Practice exercises to prepare students for the exam. CD recordings of all practice exercises, and examples in two or more parts, presented by an ABRSM examiner. Answers, both recorded and printed where appropriate, as a guide to the sort of responses that would be successful in the exam.

Skill Level
Intermediate
musmilanofantasie9

14 Fantasie per Chitarra

Francesco Da Milano

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Guitar Solo. By Francesco Canova Da Milano. Arranged by Miklos Mosoczi. 18 pages. Published by Editio Musica Budapest.

Skill Level
Intermediate
Advanced
sakura-variations

Sakura Theme and Variations

Yuquijiro Yocoh

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Theme and variations on the Japanese folk song Sakura is Yuquijiro Yocoh's most famous work and has been played and recorded by countless guitarists.

Skill Level
Advanced
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musvivaldiconcerto

Guitar Concerto in D

Antonio Vivaldi

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This delightful Concerto was originally composed for Lute, two Violins and Bass Continuo, but in the more familiar transcription for Guitar, Strings and Continuo. it has become a highly popular mainstay of the Guitar repertoire. A must for any enthusiastic guitarist, even if you do not have access to string players.

103

Collected Works for Solo Guitar

H. Villa-Lobos

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Introduction by Frederick Noade. The music in this collection has probably been more studied, performed and recorded than any other guitar compositions of the twentieth century. This collection gathers Villa-Lobos' most famous works in their original forms and complete with Andrés Segovia's original introduction to the Twelve Etudes. Includes: Choros No. 1 * Suite Populaire Brésilienne * Douze Études * Cinq Préludes.

Skill Level
Intermediate
Advanced

There is so much movement in his pieces with lots of sliding shapes, sequences and big interval jumps, with musical shape and direction that requires great freedom, relaxed agility and flowing technique.

The music is advanced, grade 6 upwards and I think that it is invaluable for technical and musical development – as well as making you think about fingering and teaching you how to get about!

The short introduction by Frederick Noad provides an excellent summary of Villa Lobos’ history with the guitar, his innovative style and his meeting and subsequent association with Segovia to whom he dedicated his 12 Etudes. The introduction also explains his notation of harmonics and the associated problems. In fact there is a section at the end of the book that concentrates on specific problems which is very helpful for players looking at this music for the first time.

Much of this music is very well known to guitarists of all standards, and as Noad says it “has probably been more studied, performed and recorded than any other guitar compositions of the twentieth century.” This is reason enough I think for it to be an essential part of a guitarists library.

The book starts with Choros no.1, the first of a set of pieces of the same name written for various combinations of instruments. The word choro is Portuguese for weeping, tears and became the name used for music played by an ensemble of Brazilian street musicians using both African and European instruments who improvise in a free and often dissonant kind of counterpoint. This piece has great pulse and rhythm as well as a sense of freedom that makes it very evocative. It is technically difficult for the left hand requiring lots of quick movement between big chord shapes and barres while maintaining melodic shape and direction. As in many of these pieces much of the melody is in chords providing the challenge of thinking horizontally in up to 4 voices rather than in vertical finger shapes. There is a lot of rubato indicated in the music and this is very important but the music does need the underlying pulse and rhythmical structure in place before you start to pull it around. Again this is a feature in all of these pieces and is often what spoils my enjoyment of the music – rubato without structure tends to lead music without sense and direction. Unlike the rest of the pieces in this collection the Choros does have some fingering but it is not overdone. The player does need to have very good technical control and knowledge of the fingerboard to really communicate the spirit of this piece.

The Suite Populaire Bresilienne is made up of five melodic and emotional pieces that use contrasting dance forms combined with Villa Lobos’ choro style. They are Mazurka Choro, Schottish Choro, Valsa Choro, Gavotta Choro and Chorinho. They all have a natural flow and rhythm and are made up of repeating and contrasting sections. There are many unusual and more dissonant sounds combined with easily singing melodies and rich harmony. I love the delicate opening figure in Schottish and the sweeping melodic line of the Mazurka. There is a constant feel of movement in the music with no compromises made for travel around the fingerboard. The Valsa highlights control of voicing between parts and within the chordal melody. Similarly the Gavotta requires three distinct parts throughout with constant movement in chords. The Chorinho is purely from the Brazilian tradition and is more unusual and quirky. It is all about the rhythm and feel for the pulse with lovely, moody, low harmonies and a major section that is simply great fun to play!

The Twelve studies truly represent an important and innovative change in writing for the guitar. They pushed the boundaries of classical guitar technique further than ever before while maintaining musicality as performance pieces, as Segovia points out in his preface to the first edition, which is printed here in full. The first 4 cover basic techniques – right hand arpeggio patterns, left hand arpeggios moving around the fingerboard, slurs and rapid repeated chords. The rest of the pieces cover combinations of techniques and musical ideas such as maintaining voices, melody and accompaniment, multiple slurs, rhythmical challenges and ornaments. I particularly like the peaceful flow of the ostinato lower voice in no.5, the contrast between tumbling scales and emotional melody with accompaniment in no.7, the beautiful and mournful melody in no.8 and the contrast of drama with the lightness of multiple slurs accompanying a bass melody in no.10 – very tricky!

With all of the studies it is obvious what you are trying to achieve and so satisfying when you start to hear progress. Add to that the fact that they are very suitable for performance repertoire and you are killing two birds with one stone as they say. This set of pieces really does represent a lifetime’s work for the performer.

The Five Preludes are perhaps some of the most recognizable guitar pieces ever written, not heard so much in performance these days which is a great shame as they are so wonderful for developing a guitarists technical freedom and musical interpretation skills. One of these skills is controlling musical shape and direction through the use of rubato. When you look at the pieces on the page you can see a lot of rhythmical detail and subtlety that is very important but often gets neglected. Freedom in these pieces is wonderful and necessary but needs to have a structure to build on to have the desired effect.

The melodies are quite romantic, notably in no.1 and no.4 and it is easy to get carried away! However as soon as you start to recognize the rhythm and pulse the musical shape shines through and creates its own freedom.

The 5 pieces are similar in structure – loosely A B A – and contain many contrasts in dynamics, texture, emotion and musical ebb and flow. No.1 has a fantastic, long melody line with extended phrases and a great emotional build up. No. 2 has a more graceful and delicate arpeggio based melody with an intense and dramatic contrasting section. The rising lines of no.3 really highlight the sonorities of the guitar and its singing voice, with a second section that is very difficult to pull off and requires lots of musical thought, but the end result is exquisite! I love the stillness and sonorous melody of no.4 with its busy and compelling centre section and no.5 is simply a lovely, sunny melody with lots of voicing needed to bring out the harmonies that move with the melody and, again an intense and melancholy middle section.

It is great to have all of these pieces together, challenging you as a player both technically and musically for as long as you play and making you think about, and work out fingering so giving you a better knowledge of the fingerboard.

Selina.

musburdencertainhits3

Certain Hits 3

David Burden

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Songs and Themes from Stage & Screen for solo guitar. This book offers the student popular hits of contemporary music and pieces from other periods that have been used in Film, TV & Stage. Castle On A Cloud, Romance, The Harry Lime Theme, Summertime, The Godfather Love Theme, Ragtime Dance.

Skill Level
Intermediate
Advanced
musabtheory5

Music Theory in Practice, Grade 5

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 5 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
Intermediate
f-m-torroba-castles-of-spain

Castles of Spain

Federico Moreno Torroba

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Federico Moreno-Torroba's Castles of Spain Invokes images both of his countries noble past and present. The collection was recorded by Andres Segovia in 1969. Immensely popular with players and audiences. Definately one of my bucket list acquisitions.

Skill Level
Intermediate
musiclongroad

The Long Road Home

Gordon Giltrap

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Here are seventeen superb arrangements of Classic Giltrap guitar compositions all taken from Raymond Burley's CD The Long Road Home

Skill Level
Intermediate

I was uncertain about this book when I first skimmed through and I now put this down to a lack of understanding of the style and the way that it needs to be played, having had no previous experience of his music.

Each time I play through the book, I find another piece that I love, and that communicates new pictures and emotions to me.

There are many technical challenges in the pieces especially, I think, for "very" classical players like myself.

For example, he uses quick multiple slurs that require relaxation and freedom of left hand movement. The sound of individual notes is not important, rather the overall flow and direction of the musical line.

There is a lot of left hand movement around the fingerboard that requires agility but again I would say that relaxation and a rhythmic feel are foremost.

The harmony is much more interesting, unusual and surprising than I expected and as I played, I found that the overall feel had to be improvisatory and free within the rhythmic structure of the piece.

That sounded a bit too technical so let me see if I can put it more simply! The pieces all have a strong rhythmic framework but the notes need to sound free and flexible around this. So if you can play without technical worry (even if the notes are not all correct) you will get much more enjoyment from the music.

The book is a very well set out and clear edition and there are quite a lot of fingering suggestions, mostly barres and positions, that are helpful and only written once!

Remember not to feel restricted by fingering as everybody's hands work differently and your hands need to flow naturally with the music.

There is a noticeable absence of dynamic and musical markings, apart from well-chosen words at the beginning of each piece such as "lazily", "stately" and "lively", and I think that this is a key as to how the music should be played. It is all about interpretation; looking at the title and general speed/ musical instruction and then listening to the music and getting "caught up" in its story! You can then write in your own phrasing, dynamics, articulation etc, or let the music unfold differently each time you play.

There are many contrasts in mood between these 16 pieces and some testing counting and time signature changes.

The calm, peace and space of the first piece, The Long Road Home, provide a wonderful opening to the book. It is not too difficult and allows you to practice listening and experimenting - a great introduction to the style.

My other favourites include Kaz with its lazy, low harmonies and melodic line; the stately Lord's Seat; London, which has a slow and wistful feel; For those who Bring Sunshine, which is lively and hopeful; the exuberance of Fell Runner and finally A Christmas Carol - a slow and reflective piece with fantastic harmony and lovely delicate touches to the melody.

The highlight for me is probably A Misunderstood Man, a piece that took me longer to appreciate with its slow, ever changing melodies but in which I now find new lines, feelings and pictures every time I play.

This volume of 16 pieces has taught me a lot about interpretation and freedom in performance and I know that this will benefit my technique, playing and performance in general.

Selina.

325

Sor Variations Op. 9

Fernando Sor

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on a theme from Mozart's Magic Flute edited by Fabio Rizza. Based on the theme 'Das Klinget so herrlich' taken from the first act. This edition is worth owning just for the Preface which has much interesting historical detail. Print quality is clean bright and very easy to read. An excellent edition.

Skill Level
Advanced
mustorrobapiecescaracteristique

Pieces Caracteristiques

Federico Moreno Torroba

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This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. Andres Segovia Edition Volume 2 GA 134 includes the pieces entitled, Los Mayos, Albada and Panorama.

Skill Level
Advanced

This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. As such it is a part of the repertoire that is often overlooked as our musical tastes change but that can teach us a lot about what our instrument can achieve.

There are three pieces offering contrast in character but strong links in melody that means they work beautifully together. The music is full of strong treble and bass melodies, driving rhythms, exciting harmonies and lots of opportunity for contrasts in articulation and tone. Techniques include fast articulation, control of long slurred passages and fluid movement around the fingerboard.

Los Mayos is strong and bright with an uplifting theme that is used throughout, driving the music forward, lots of chord movement, and some lovely ‘clashy’ harmonies. It is marked Allegro no tanto – quick and cheerful but not too much!

Albada has a great, quirky and quite angular returning theme that contrasts with some lovely tenor melodies on the 4th and 5th strings and a gorgeous tune in the relative minor with a warm syncopated accompaniment. Again the Allegro marking is tempered, this time with gracioso, highlighting character as apposed to straight speed.

The final piece is Panorma, an expansive piece with a Lento Introduction, a central Allegro which develops into a fugal section using the main theme, and a return to the theme of Los Mayos to finish. The Lento consists of beautiful, big chords producing full and rich ‘open’ harmonies which rise and crescendo before falling in triplets with a diminuendo that leads into the Allegro. Now the music moves more quickly alternating between a melody in triads and flowing semiquavers, building into the relative major and towards a brief introduction of the Los Mayos theme before falling towards the fugal section.

Here the main theme from this movement is developed with many entries and echoes in other voices, moving through keys and creating full textures and harmonies, starting low and rising to 2 octaves higher than the first statement before falling back again and finally merging into the final strong statement of the Los Mayos theme. It is all very exciting and finishes with a great ‘big dipper’ run of semiquavers and then 2 lovely, soft, staccato chords – real drama!

This is perfect music for the Classical Guitar – warm and Spanish in character, exciting and dramatic, using all the instrument has to offer and a reflection of a golden age for the guitar.

Selina.

114

Libra Sonatine

Roland Dyens

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A piece of three movements consisting of A - India, B - Largo, C - Fuoco. Definately a tour de force, this piece will request much from the player yet will deliver something special to both the player and the audience. 11 pages of music Published by Editions Henry Lemoine

Skill Level
Advanced
muskoshkinmasqrds

Mascarades

Nikita Koschkin

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The traditional repertory for young guitarists obviously needs an enrichment, this album of picturesque music written by the young Moscow composer give guitar players time to get to know the many facets of this instrument. The music, inspired by a world of stories and fairy tales, offers you the chance to live a fantasy adventure through music.

Skill Level
Intermediate
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82

The Guitarists Progress Book 2

David Burden

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This collection of guitar pieces brings the guitar student from approximately Grade Two through Grade Four standard. It leaves the teaching of technique, hand positions, and other fundamentals to the teacher but provides material for work on specific techniques such as barres. The notes in the higher positions are gradually introduced and musical notation is explained with helpful hints.

Skill Level
Beginner
Intermediate
mustrinitytheoryg2

Theory of Music Workbook Grade 2

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 papers.

Skill Level
Beginner
35

Guitar Exam Pieces CD Grade 6

ABRSM

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

Skill Level
Intermediate
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312

Trinity Guitar 2016-2019 - Guitar Grade 6

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
Intermediate
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musabauralbook1

Aural Training In Practice Book 1

ABRSM

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Aural Training In Practice Book 1 provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical examinations. covering grades 1-3. A CD of all exercises covering grades 1-3 is also available. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Beginner
295

100 Graded Classical Guitar Studies

Frederick Noad

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One hundred studies from the works of three outstanding composers, Sor, Giuliani & Carcassi. All of these studies are invaluable to the guitarist, as well as developing right and left hand technique they are a pleasure to play and listen too. With each study Noad has added a brief note which assists and encourages. This edition is great for both student and teacher.

Skill Level
Beginner
Intermediate
Advanced

This is a fantastic resource for guitarists of all ages and standards. If you are a beginner it is a great investment for the future, and if you have been playing for a few years it presents lovely pieces through which you can develop your technique and your musicianship. The Classical in the title not only refers to our instrument but to the period from which the music originates. The 19th century guitar repertoire is often under rated but is, in my opinion indispensible.

This edition represents great value for money, including all of Carcassi’s Op.60 as well as many of the well known Sor studies, for example the B minor arpeggio study, op.31 no.6 the detached quaver chords and op.6 no.6 the moving thirds in A major. The Giuliani studies tend to be less well known as there are so many that have not really been collected into dedicated edition for students.

There are some lovely examples here that really help you to work on specific aspects of technique such as arpeggios, moving intervals and chord movement while giving you lots of drama and excitement musically. Giuliani’s Opus 1 is well represented, giving a tantalizing taster to a group of studies and exercises that no guitarist should be without.

The book is very well laid out and clearly printed with a short paragraph of musical and technical notes for each of the 100 studies, and most importantly sensible levels of fingering!

This gives you great confidence as a player particularly if you don’t have a teacher to help you.

There is also a fairly brief but comprehensive introduction covering the editors ideas in the selection and grading of pieces as well as historical notes on each composer, Fernando Sor, Mauro Giuliani and Matteo Carcassi.

Frederick Noad produced some great collections for students really opening out the guitar repertoire for everyone to enjoy. There are too many favourites here for me to mention, a real treasure trove!

Selina.

musdowlandair

Air and Galliard

John Dowland

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Transcribed from the lute tablature and arranged for guitar by Karl Scheit.

Skill Level
Intermediate
Page 11 of 13