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.

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Sheet Music Database


Anthology of Selected Pieces

Silvius Leopold Weiss

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Many of the works of Weiss were originally grouped by common key and it is to be assumed that the composer intended them to be performed as suites. However, it is from a number of unrelated pieces that the present anthology is taken - exceptions being the Ciacona, which belongs to the tenth 'suite', and Pasagaille from the fourteenth. In my opinion the set of eight pieces offered here represents Weiss at his most inspired.

Skill Level

In my opinion the music of Weiss is a must for every guitarist. It is a great introduction to the music of the Baroque, being written specifically for the lute and so feeling more natural under the left hand when compared to the Bach lute suites

The Baroque lute was of course a very different instrument to our classical guitar, but the only real compromise is on bass lines and this edition is very well done with good explanations about the original music, ornamentation and steps taken to fit the music onto the guitar in the most effective and sympathetic way.

This information (contained in the preface – essential reading!) and the way that the music is fingered gives the player control. This is important; we have to remember that the music is transcribed from another instrument and there should be flexibility for the performer. For example, the editor decides the length of sustained notes as the original tablature does not show this. Burley points this out and it is important to be aware of this when learning the pieces, teaching you to listen to and interpret the music and not just learn technique and fingers.

The pieces in this volume are simply fantastic. The music has great depth and intensity with big chord progressions and sequences, long melodic phrases, wonderful clashes and resolutions in the harmony, lovely scrunchy dissonant chords and real musical drive created through melody and rhythm.

The notes carry us over the whole range of the fingerboard with rising sweeping arpeggios in the Fantasie, very long slow melodies in the Tombeau and lovely variations of melody in the Ciacona and Passagaille. The majesty of the latter is brilliant and overall the pieces are packed with emotion and excitement.

The Capricio is lively with driving counterpoint and great arpeggio chord progressions and the simplicity of the main theme of the Ciacona is sublime, the melody being varied over the same sequence throughout and always returning to that simple statement creating very powerful music.

This is difficult music and requires good technique, rhythm and pulse, however it is the musicality that shines through and teaches us so much about feeling our way through pieces and being directed by the sound and movement of the harmony and melody.


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