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 97 - 120 of 289

Sheet Music Database

74

Le Petit Livre de Guitar Vol. 2

Claude Gagnon

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A collection of 25 pieces from the Renaissance & Baroque eras arranged for solo guitar by Claude Gangon. Featuring composers such as Milan, Tourdion, Galileo, de Visee & Bach. This is an excellent book for the aspiring student.

Skill Level
Beginner
Intermediate

I must admit to particularly liking this little book as it highlights the music that I really love!

This music is tuneful and rhythmical and in my experience students really enjoy playing the pieces while learning a lot both musically and technically.

The printing and layout is very clear and fingering seems to have been kept to a minimum contributing to the uncluttered look and "readability".

The choice of music is excellent introducing the stylistic features of the period, for example the "divisions" that shaped the music of the Renaissance, in good arrangements and transcriptions.

In particular this music introduces students to ‘counterpoint’ – two or more melodies played at the same time – starting with melody and simple bass and working up to more complex music by Milan, Dowland, de Visee and Bach.

The progression of difficulty is clear through the book with the D minor Prelude by Bach an important and satisfying goal to aim for at the end. This is one of my highlights; others include Pavane by Milan and the Saltarello by Galileo which has been a favourite piece of mine since first playing it as a child.

I would put the music here at a grade 3 to 6 standard, and I think it is invaluable repertoire for aspiring guitarists, definitely encouraging further exploration into these styles.

Selina.

muswandersbluesrags

Blues Rags and Rock n Roll

Jeop Wanders

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20 easy pieces in the lighter vein. With a number of familiar traditionals like Midnight Special, The House of the Rising Sun and some new pieces composed in familiar styles, this collection is a welcome addition to the student repertoire. Now with PLAY-ALONG CD. Difficulty level grade 1/2

Skill Level
Beginner
musbachcello

Bach Cello Suites 1 to 4

J. S. Bach

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For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here, for the first time, are the first four in the easiest and most resonant guitar keys. Suites I–IV must be transposed to work on the guitar, whereas Suite V is always played in A minor, in Bach’s own lute version, and the equally demanding Suite VI can only be played in its original key of D. By adding as little as possible, these arrangements preserve the integrity of the originals.

Skill Level
Intermediate
Advanced

This edition is very well researched, laid out with clear printing and plenty of examples and explanation. It gives guitarists of all standards and musical knowledge an opportunity to explore this fantastic music. As Richard points out in his introduction the guitar repertoire already has ‘difficult’Bach in abundance, whereas these 4 suites are altogether more approachable.

Before the music starts there are 4 pages of notes which are clearly laid out in sections; Keys, Realising the notation, Added notes and other changes to the text, Ornaments and Acknowledgments. This is by no means a daunting read (and must be read!!) covering his reasons for changing keys, his choice of fingering and added harmonies and help in interpreting the hidden counterpoint in Bach’s single line melody. Although some of the language is quite academic it is not difficult to gather the overall meaning and points about literal length of notes for example really do help in your interpretation.

Richard has chosen to, for the most part, stick with the cello’s single line melody, clearly stating his reasons why There have been many arrangements of this music with guitarists keen to add harmony to exploit the abilities and richness of the guitar, perhaps most famously John Duarte’s arrangement of the first cello suite. The main problem with adding too much to the original is that you end up taking a lot away, the extra notes often impeding the natural flow of the music. This is music that speaks for itself and through simply playing the original notes you start to hear the shape of the phrases and implied voices, with the musical qualities of the guitar enhancing them further. In its original form, as printed here, we learn much more about playing musically rather than working out fingers and chords all of the time!

Any notes that have been added or changed (in octave for example) are written in small print and there are examples in footnotes to help with interpretation of ornaments and ideas on embellishing the music stylistically.

The edition is by no means over fingered and allows plenty of space for changes and adding your own fingering. Sometimes it is necessary for an arranger to add fingering when they feel that the music has to be played in a certain way to communicate the composer’s original intentions. My only question here is that the method of fingering is a little inconsistent and requires stopping to think. For example in places a note will be marked with a string number that indicates a different position but is not immediately obvious. There is quite a bit of right hand fingering which is fair enough as long as the player realizes that they are simply suggestions and should not hold up your musical line. This last point is key; the only important thing is the music. If you find it difficult because you are trying to impose a fingering that does not fit for you then you are losing out! (Having said that one finger repeated throughout is not good enough technically and will also not bring the musical line out fluently!)

This edition does give very clear explanations of the reasons for using certain fingerings and in doing that immediately offers the player choice – excellent!

As for the music - it is wonderful, offering excellent melodic, listening and phrasing work for the guitarist. It may feel strange at first playing mainly single lines but you will find yourself listening so much more and eventually really enjoying the freedom of movement and expression that this music gives. I particularly enjoyed Suite IV, which is majestic and full of wonderful twists and turns, rhythms and beautiful lines. I was unfamiliar with the music but am now inspired to explore it further – what more evidence do you need of a good edition!

To sum up, whether you want to try playing Bach’s music for the first time or are experienced and looking for something new, this edition would be an excellent and very worthwhile addition to your library.

Selina.

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musmagicguitareasypieces

Magic Guitar Easy Pieces

Claude Gagnon

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Easy Pieces Book One contains twenty-one graded easy pieces, selected and edited by Claude Gagnon. 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.

42

The AB Guide to Music Theory, Part II

ABRSM

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Provides an introduction to the basic elements in harmony and musical structure. Separate chapters on voices, string instruments, woodwind and brass instruments, percussions and keyboard instruments, and instruments in combination. Covers non-harmony notes, tonal harmony and chromatic chords, and musical structure.

Skill Level
Intermediate
Advanced
302

Villanesca

Enrique Granados

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Certain pieces of music stay with you all of your life, they just sit there in ones memory waiting to be brought back to life. Villanesca is a piece I learnt. played, loved, was excited by and impressed myself with.

Skill Level
Advanced

This is a good edition of a lovely piece originally written for the piano although it is probably better known as a classical guitar piece. It does ask for the guitar to be retuned with string 5 tuned down to G and string 6 down to D.

Do not be put off by this!

There are very few fingered notes on these two strings to have to adjust, and the tuning gives the piece a beautiful warm and open sound helping to create the atmosphere. Also most guitars sing beautifully with this tuning!

Unfortunately there is a rather big misprint in the first 4 bars. The bass note of each of the chords is written as a low E, normally open string 6. It is fingered with a 0 and is supposed to be a G – in this case open string 5.

Watch out for this and don’t try to find an E!

There are a lot of notes in higher positions and the fingering is detailed and helpful although do try to learn the actual notes as well, it will really improve your higher position reading. The arranger also makes good use of harmonics which are marked with position and string.

This really is a lovely piece with a simple melody that repeats and builds, with an accompaniment of Bass G crotchet followed by the highest D crotchet repeating to great effect (reminding me in some ways of Ravel’s Bolero accompaniment). There is a beautiful rubato, minor middle section that loses the regular accompaniment and moves into three voices diverging and interweaving, before returning to the uplifting main theme.

Great fun.

Selina.

musdodgsonodetotheguitar

Ode to the Guitar

Stephen Dodgson

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Stephen Dodgson was educated at the Royal College of Music, where he later taught theory and composition. His guitar music has gained recognition, despite the fact that he does not play the instrument himself. His remarkable grasp of the instrument’s capabilities in a distinctly non-Spanish idiom deserves to be heard more widely. John Williams premiered many of his guitar works, including the first Partita and the first guitar concerto.

Skill Level
Intermediate
Advanced

This book is “A Sequence of 10 Miniatures’ written by a composer with a great pedigree in writing original and ‘far reaching’ music for the classical guitar.

By that I mean that the music stretches our technical abilities and musical ideas and has been very important in the development of the guitar repertoire in the 20th century.

In his preface Dodgson describes his collaboration with Hector Quine in writing a series of technical studies to complement a rapidly expanding guitar repertoire. After 20 years there was a pause in writing and although many aspects of technique had been explored Dodgson felt that there was one vital element missing – the expressive requirement. In this volume he set out to provide ”a strongly coloured miniature which will encourage the right hand to give voice to a full range of expression”

I think that he has achieved his aim with these miniatures and has gone beyond that in introducing guitarists to a truly contemporary style and new musical language, developing reading and interpretation skills as well as musical imagination.

The old excuse of “I can’t learn the piece because I don’t know the tune!” doesn’t work with these pieces.

The titles are very important, supplemented by ‘character’ and ‘feeling’ words in place of traditional tempo markings or expressions; for example ‘brisk and impish ‘,’radiant and sustained’ and ’menacing and intense’, which send direct messages to the fingers before you have even listened to the music!

There is of course a level of technique needed to get the most from this music, but I think that it also helps to develop this from the angle of tone colour, texture, spirit and story telling. The ability to listen and use your imagination is very important throughout the learning process, as is a strong rhythmical feel. A lot of the harmony is dissonant and unusual but there are also plenty of recognizable features to help you to develop an understanding of the style. The pieces use the whole range of the guitar in a very free flowing manner and even though the positions and shapes may be unfamiliar the music is very well written for the guitar both technically and musically. Fingering is used sparingly encouraging the player to explore.

  1. Ode to the Guitar - arpeggio figures punctuating slow melodic lines;
  2. Ragged Robin (grade 6) – clever use of the left hand around the fretboard giving the cheeky and impish character required, with small motifs linking and giving direction;
  3. Rainbow – constant flowing semiquavers where the player needs to listen to the harmony for shape and direction. It is particularly important to read the musical instruction here;
  4. Ghost Story (grade 7) – the melody and harmony are very contemporary with the melodic intervals and dissonances giving it the sinister and menacing feel;
  5. Drowsy Head – clear melody and direction with fingering patterns and a great mental picture to follow!
  6. O Pussy my love – a serenade feel and ideal pulsing accompaniment with a stretched rhythm to challenge you and detailed and tricky left hand work;
  7. Call, and I follow – lively and tricky requiring a light touch and good counting!
  8. Sirins (grade 6) – one of my favorites with clever use of subtly changing harmonies and lilting pulse;
  9. Hornets Nest (grade 8) – great fun with detailed left hand work cleverly under the fingers even if they have to move to get there!
  10. Villanelle – rustic with great spirit in the rhythm, range and lovely bass melodies.

To conclude, these pieces really are small windows onto emotional feelings and characters and as Dodgson says of the benefits of learning; “an awakened imagination is the spark; the reward, a tiny concert piece that sounds like one.”

Selina.

musyorkkinderlight

Kinderlight

Andrew York

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York's first big break came in 1986 during study in Spain. In a concert at the end of the course, he played one of his original compositions, "Sunburst." Guitarist John Williams, who happened to be in the audience, was impressed with the piece. He asked York to transcribe it and send it to him in England. Williams's interest in the piece was not a momentary thing: not only did Williams add it to his performances, but he also recorded it. Since then York has published many works including Kinderlight a book of 7 pieces. If you are a fan of his music, as I am, Kinderlight will be a great addition.

Skill Level
Intermediate
Advanced
musdeviseedelresole

Musica Del Re Sole

Robert De Visee

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Skill Level
Intermediate
90

Guitar Crackers

Cees Hartog

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Solos for Classical Guitar. Traditionals, Folk, Blues, Country, Latin Americans, Romantic Moods. Popular. Level: Easy. Book. 24 pages. Published by Alsbach

Skill Level
Intermediate
muslauro2venzwaltz

Two Venezuelan Waltzes

Antonio Lauro

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Two very well know works entitled El negrito. the black haired one, which refers to Lauro's son, Luis and La gatica, the female cat. The pairing of these pieces is as Lauro intends it. Nicely printed, easy to read with no page turns within pieces. A buy must for all guitarists.

Skill Level
Intermediate
70

Solo Now - Preparatory Book

Chanterelle

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Specially commisioned easy and accessible guitar solos with minimal demands on the left-hand so that the student can concentrate on a stable relaxed right tirando technique. Other techniques such as appoyando, tremolo, simple chords, tambora and rasgueado are also covered.

Skill Level
Beginner

This is a great new addition at the beginning of the EGTA guitar series. It introduces the idea of modern music at an early stage and gives invaluable experience in interpretation since the pieces need the performers input with articulation, dynamics and shaping to give them their character.

Over the years I have found that, given the chance, young people love to play dissonances and big contrasting dynamics, making the music more theatrical and telling a story that they can relate to.

Titles like "My Dog has Fleas", "Beasties" and "Square Pegs, Round Holes" make you smile and give you ideas of how the music should sound before playing a note! Other pieces like "The Lost Abbey", "The Forbidden City" and "Sad Song" need a lot of atmosphere, and "Japanese Garden" and "High Life" introduce different cultures and musical languages.

Several of the pieces reflect blues and reggae styles with simple, but very effective, syncopation. My favourites are "High Life" for its sheer happiness; "Rumba Flamenca" which makes excellent use of an 8/8 time signature; "Japanese Garden" for its beautiful delicacy and "Regular Reggae" which is just great fun!

I will definitely be introducing this book into my teaching repertoire.

Grade 1

  • A Little Russian Tale: a simple melody accompanied by open bass strings with a title and shape that really encourages character.
  • My Dog Has Fleas: this uses nice, open string arpeggio figures with some more jumpy, crotchet and quaver “itchy” rhythms.
  • Pas De Deux: introduces effective 2 part contrapuntal writing with a strong bass line.

Grade 2

  • Sad Song: asks for long, legato phrases using echoes and "question and answer" shape.
  • Gimme Five: with echoes of the famous Gimme Five, a strong syncopated rhythm.

Selina.

popular-songs

Popular Songs for the Classical Guitar

John Zaradin

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These arrangements allow the classical guitar player to extend their repertoire and enjoy playing some 'evergreens' from Jazz and popular music. The pieces are graded in order of difficulty and there are fingerings and markings to serve as helpful guides. Whatever the standard the music is enjoyable.

Skill Level
Intermediate
158

Simply Latin

Vincent Lindsey-Clark

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Simply Latin evokes the sounds of South Americcan folk music. These six sketches take the player on a tour of the Andes, Venezuela, Brazil capturing in simple musical textures the exuberance and complexity of some of the South American folk cultures.

Skill Level
Beginner
Intermediate

The fantastic thing about this book is that it produces so much variety within the "Latin" style.

To quote the edition, these pieces..

"…take the player on a tour through the Andes, Venezuela, Brazil….capturing the exuberance and complexity of some of the South American folk cultures."

Again, Clarke manages to communicate so much through relatively simple musical textures, and, importantly, introduces younger players in particular to musical styles that they may not have experienced before.

 

The Vals actively encourages you to go to play Lauro's music. There is a real swing and feel of one in a bar while keeping the chords simple and easy to combine with the melody.

The Tango is full of the drama of the dance, heightened in the middle section with big moves between positions that sound great and are easy to play.

Montanas Nebulosas evokes the music of the Andes beautifully, making use of glissando and tambora techniques. The syncopated rhythms are clearly written and easy to understand.

My absolute favourite in this book has to be Rio by Night! This piece uses great harmonies and syncopated rhythms that take a bit more working out and counting, but are certainly worth the effort for the finished effect and atmosphere. You simply get carried along by the gentle Bossa Nova and transported to the carnival!

The final Danza also requires more careful control of rhythm and articulation, and buzzes with excitement and energy.

Selina.

musicbrouwer4

El Decameron Negro.

Leo Brouwer

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I have loved this work from the first time I heard it played. Yes it is difficult and you may be put off by the rhythm patterns, counting and shear range of movement required to get around your guitar however it is definitely worth the effort no matter how many years it takes you to learn.

Skill Level
Advanced
288

Specimen Aural Tests 2011 Grades 1 - 3

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 1–3 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.

Skill Level
Beginner
Intermediate
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muspujolhispanae

Hispanae Citharae Ars Viva

Emilio Pujol

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I am afraid that I will have to start this review by saying that this is one of my favourite music books ever!There is a short preface describing the history and sources of the pieces, with some information for the player on tablature, original instrumentation, tuning and performance practice followed by a short description for each piece. Contains music composed by Various Composers and arranged by Emilio Pujol Vilarrubí.

Skill Level
Intermediate
Advanced

I am afraid that I will have to start this review by saying that this is one of my favourite music books ever! The music is simply fantastic and it is great to have a volume with a nice variety of pieces from this period to help guitarists become acquainted with the style and, as I did, fall in love with the music.

There is a short preface describing the history and sources of the pieces, with some information for the player on tablature, original instrumentation, tuning and performance practice followed by a short description for each piece. In these descriptions the editor gives approximate tempo markings and an indication as to whether note values have been changed due to the fact that during this period the semibreve is thought to have been equal to today’s crotchet, hence the pieces ‘looking’ slower to us!

The tempo markings are mentioned but unfortunately not translated! Despacio = slow, Apresurado = fast, Apriesa = fast, Compas = beat, Medio = neither slow nor fast! It is also important to understand the words redobles indicating rapid passages of notes and scales, and consonancias indicating passages of harmony and slower melody. Understanding the musical language is always important, especially here as it helps to explain performance practice and interpretation of a style that we are very unfamiliar with.

The preface states; “ (this music)…should be considered indispensable for the artistic development of the guitarist” and I cannot agree more! From a reading point of view the altered tuning makes us think and the Renaissance style forces us listen to musical lines and phrases, clashing harmony creating movement and emotion, multiple voices, interweaving lines and long extended phrases with unfamiliar structure. The rhythms are unusual and there are lots of long notes and space to play through, especially where the pieces are based on vocal works, like Cancion del Emperador by Narvaez on Mille Regretz by Josquin.

There are also many contrasts from the simple chordal structure of the first two pieces by Pisador, through the long interweaving lines of Milan’s Fantasia del quarto tono, to the imitation, energy and dissonance of the Fantasia by Mudarra. This Fantasia, written in imitation of the harp in the manner of Luduvico is a fantastic piece and great fun, if a little tricky, to play. At one point in the piece Mudarra has written a note saying “from here to the end there are some false notes; when played well they do not sound bad”!

I also love the Fantasia del quarto tono by Milan with its stately opening chords from which melodies emerge and open creating continuous momentum throughout the music. The contrasts in Fantasia de consonancias y redobles are great and encourage a freedom in interpretation that many of us find difficult at first.

Finally Diferencias sobre Guardame las vacas is probably the most famous of the pieces and has wonderful movement and development throughout the continuous variations, rhythms that appear to twist and turn, imitation and flowing scale passages that rise and build towards a final phrase that relieves the tension in a calm ending.

Brilliant and definitely music that should be in every guitarist’s repertoire.

Selina.

mustimepieces1

Time Pieces for Guitar Vol 1

Peter Batchelor and Richard Wright

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These are excellent books and I find myself asking, Why wasn't this sort of syllabus available years ago. Preparing an exam syllabus is much more difficult than it may seem, and a thankless job, but with these books they have got it just right.

Skill Level
Beginner

These are excellent books and I find myself asking, "Why wasn't this sort of syllabus available years ago". Preparing an exam syllabus is much more difficult than it may seem, and a thankless job, but with these books they have got it just right.

They are beautifully laid out with clear printing and just a little fingering that is by no means intrusive and allows the students to really learn about the guitar fingerboard. The best thing however is the way that they introduce the history of music to guitarists, from the thirteenth to the twenty-first century, with very sympathetic arrangements throughout that allow you to forget that the pieces were not originally written for the guitar!

As guitarists, we have a wonderful repertoire of music but it is great to have the opportunity to experience the music of Mozart, Handel and Beethoven in a first hand and positive way. This is especially important for young people to develop understanding and enjoyment of classical music (and for GCSE and A level exams!) For this reason, I will happily use these books for all of my students in future whether taking exams or not.

There is a good mix of music throughout including traditional, classical, jazz influenced, popular and song arrangements, in solo and duo formats. Many of the pieces have explanatory notes of, for example, the history of the piece, translation of the title, and original format as in accompanied song or original instrument.

All of the early dance forms are explained and given context so that the student is learning far more than just (!) how to play the guitar. There are 36 pieces in the first volume and 32 in the second so you are getting an awful lot of music for your money! Each piece also states clearly the year in which it was written so, as the books quote, "you can map your journey through time."

The books clearly cover all the technical requirements of the first years of learning including legato melodies, shaping phrases, articulation and ensemble playing to name but a few.

To summarise the choice of music, quality and suitability of arrangements, and accompanying notes are all excellent. There are many recognisable tunes "throughout the ages" and contrast in styles from Personent Hodie (1360) to Bach (1736), and from our own Aguado (1843) to Granados (1902) and Lennon/McCartney (1966)!

The editions are easy to read with a level of fingering that is not overpowering and I can truly say that all the pieces are enjoyable to play (from personal experience!)

Highly recommended.

Grade 1 pieces

  • Ductia: a gentle flowing melody in 6/8 time using the open D string as accompaniment.
  • Branle d’Ecosse: a lot of running quavers in this dance using the open A string as accompaniment.
  • Gavotte: this lively dance by Handel has been arranged as a duet. The student’s part is a single line melody on the treble strings with a steady crotchet and quaver rhythm.
  • Douce dame jolie: this is a "virelais" which is an old French musical form related to dancing. It has an interesting syncopated rhythm and open A as accompaniment.
  • Leccion: a simple single line melody "Alla marcia"! in 2/4 time
  • Valse: a flowing waltz using an arpeggio style in the first half and then separating into 2 voices.
  • El Noy de la Mare: this is a duet arrangement of a beautiful traditional Catalan melody in F major using a dotted crotchet rhythm.
  • Poor Wayfaring Stranger: an arrangement of a traditional spiritual with an interesting syncopated rhythm.
  • One Hand, One Heart: a lovely arrangement of this song from Westside Story, with simple melody using long sustained notes in G major.
  • The Dangers of Poking Holes in Ice: as the title suggests this is great fun with staccato and accent articulation and dynamics that are vital to bring out the character.

Grade 2 pieces

  • Pavane: a short stately dance using 2 and 3 note chords.
  • Can she excuse my wrongs: a duet arrangement of this beautiful Dowland song. The student plays the vocal line including some syncopated rhythms and changes of pulse.
  • Farewell Manchester: this is a lively little piece, mostly in 2 voices with more challenging left hand changes.
  • Aria detta la Frescobalda: a duet arrangement; the student plays a single line melody which uses long tied notes, mostly in 2nd and 5th positions. In the key of E minor.
  • Ode to Joy: an excellent arrangement of this popular melody using 2 voices.
  • Menuet: a duet arrangement of this famous Haydn Menuet with longer quaver passages in the melody and detailed left hand fingering using positions 1, 2, 3, 4 and 5.
  • The Sixpence: a traditional Irish melody with a lot of quaver passages and dotted rhythms and some fingered bass notes; in G major.
  • Here, There and Everywhere: a very effective duet arrangement of this Lennon/ McCartney song. The melody is syncopated requiring a good feel for the pulse and style.
  • Ballroom Blues: this little waltz is an original guitar piece written in a blues/ reggae style with simple 3 note chords and a bass melody. Great fun!

Selina.

muswandersgfiesta

Guitarra Fiesta

Jeop Wanders

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A collection of 10 pieces in a lighter vein for the more advanced guitar student. Fingerpicking, a choro, a Venezuelan waltz, a salsa and a ragtime, finishing up with a bossa-nova duet, reflect important aspects of performance culture. This is a fun book extending the repertoire of the classical guitar beyond the usual. The book is really a collection of light entertaining pieces. All are nicely melodic with an interesting rhythmic variety. Well recommended to widen the average student fare.

104

24 Studies Op. 48

Mauro Giuliani

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Guitar Solo. By Mauro Giuliani. Arranged by Hans Ritter. This edition: GA32. Covers 27 pages and is published by Schott Music.

Skill Level
Advanced
mussor20minuets

20 Selected Minuets GA15

Fernando Sor

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How should one perform Sor's music? I believe the answer is with considerably more freedom, expression and passion than has, for the most part, been done in the recent past. These 20 Minuets are a must have for the aspiring student wishing to develop the emotional side of their playing.

Skill Level
Intermediate
Advanced
musabtheory6

Music Theory in Practice, Grade 6

ABRSM

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Covers all aspects of the Grade 6 Theory of Music examination. Deals with the realisation of figured basses for keyboard and for voices in four parts, harmonisation of tonal melodies and melodic composition, both tonal and in more modern styles. Covers both pre-20th-century and 20th-century styles, builds on work covered in the first five volumes of Music Theory in Practice, looking further into the workings of tonal harmony and introducing students to melodic composition outside the tonal system

Skill Level
Intermediate
36

Guitar Exam Pieces CD Grade 5

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
313

Trinity Guitar 2016-2019 - Guitar Grade 7

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
Advanced
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