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 169 - 192 of 289

Sheet Music Database

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
musmertzvol6

Guitar Works Volume 6

Johann Kaspar Mertz

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Edition of Collected Works comprising about one-third of the composer's total output. Selected and edited by Simon Wynberg. Mertz was a leading guitarist composer from the Romantic period and his works are frequently performed in concerts today. His works are in the language and style of Mendelssohn, Schubert and Liszt.

Skill Level
Intermediate
Advanced
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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
132

The Guitarists Hour Book 3

Schott

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An hour with the guitar presents a careful selection of the most beautiful pieces of guitar literature. The pieces contain in the book progress from easy to moderatly difficult giving not only the beginner but also the advanced guitarist valuable material for teaching, entertainment and performing.

Skill Level
Intermediate
Advanced

I remember well the Guitarists Hour books from when I was young and I know that I gained a lot from playing a this repertoire! The problem is that there is so much choice in the 19th century repertoire and, yes, there are inevitably some ‘ordinary’ pieces. However there are also many excellent, exciting and fun to play pieces that always teach you a lot in the process of learning them.

The main strength of this book is that it offers choice and variety within the 19th century, introduces new composers and gives an overall snapshot of the repertoire so that players can then make informed choices and don’t necessarily have to buy lots of books to find music that they enjoy.

I have had brilliant fun playing through these pieces, several times now! There is so much drama, excitement and colour in the music with a good cross section of composers to compare. The added bonus is that you are learning a great deal as you play.

The 19th century was the beginning of the classical guitar; although the proportions of their instrument were quite different, the composers of the time started to lay down the techniques that are so important as a foundation to modern technique.

I firmly believe that without the ‘grounding’ that the 19th century repertoire gives us we cannot fulfill our technical potential in other styles of music. For example basic slur technique, scale and arpeggio playing, movement in thirds, sixths, octaves and tenths – intervals that are fundamental to the way we voice harmony and fluid movement around the fretboard.

The opening ‘Galopp’ by Carulli is full of drama and joy, contrasting beautifully with his lyrical ‘Alla Polacca’. Molino’s ‘Menuett’ has more detail in the harmony, introducing double slurs while the ‘Menuett’ by Matiegka contrasts strong rhythm in the opening section with delicate three part writing in the trio. These two composers are not as well known to us - a welcome inclusion in this volume.

The ‘Allegro’ by Aguado employs very free and quick movement around the fretboard emphasizing musical intervals, with a wider use of ornamentation.

Mertz is one of my very favourite composers and the ‘Polacca’ (grade 8) and ‘Capriccio’ are great examples of his music. Both are full of drama and ‘theatre’, the ‘Polacca’ in light, bright and lilting way and the ‘Capriccio’ using insistent repeating notes, accents and off beat melody to give drive and energy. These really are pieces with which you can “let rip”!!

Giuliani’s music is very free flowing and rhythmical; ‘Sonatine’ (grade 6) produces a sense of grandeur with the octaves and rests in the music, and the ‘Capriccio’, stands out for me in the way that the melody is within the arpeggio changing from bass to treble and running all over the fingerboard.

The ‘Andantino’ by Coste is particularly demanding as no concession is made for the difficulty presented by a lovely, decorated melodic line and very big interval jumps between chords. His ‘Studie’ (grade 7) is strong and dramatic with a great motif in the bass accompanied by full chords. Sor is perhaps the most famous and prolific writer for the guitar in this period and there are 7 of his pieces here showing the variety in his output and depth and fun to be found in his music. I particularly like the light, cheerful and quite cheeky ‘Hunting Piece’ (grade 6) in which the hunting horn can be clearly heard and the ‘Galopp’ which is very true to its name! His ‘Rondo’ (grade 8) is a longer piece that is more ‘virtuosic in tempo and flair with moving thirds, very quick semiquaver rhythms, free flowing arpeggios and an almost orchestral build up to the final cadence.

All in all an excellent volume of music that is very important to guitar students, not least for performance practice.

By the time that you have worked through these pieces you will have mastered so many basic techniques, as well as learning to hear and highlight melodies through arpeggio texture, control the projection of individual voices so gaining right hand balance, and perhaps most importantly learnt to “let your hair down” and enjoy the theatrical side of the music!

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
100

Aquarelle

Sergio Assad

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Single piece for guitar. D Major. 14 pages. Published by Editions Henry Lemoine

Skill Level
Advanced
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
musoneplusvol23

One + One Volume 2 (Pupils Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

Skill Level
Beginner

These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

All the student parts are single line melodies across the two volumes.

Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

Grade 1 (volume 1)

  • Riggadoon: a lively, straightforward melody using the treble strings.
  • German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.
  • Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

Grade 2 (volume 2)

  • Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.
  • A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!
  • Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.
  • Grade 3 (volume 2)

    • Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.
    • Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

    Selina.

    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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    muszebramusic

    Zebramusic

    David Cottam

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    This volume continues the overall sense of fun in playing the guitar and enjoyment of varied musical styles that we were first introduced to in Zebracadabra.

    Skill Level
    Intermediate

    This volume continues the overall sense of fun in playing the guitar and enjoyment of varied musical styles that we were first introduced to in Zebracadabra.

    The titles are wonderfully descriptive of the style and/or story of each piece which for me emphasizes the importance of this aspect of our guitar playing - one that is all too often neglected! A good example of this is Amontilado, which has a definite Spanish atmosphere.

    Throughout the book, Cottam uses the whole fretboard, often utilising sliding shapes and open strings very effectively to get around. The speed of left hand work increases as the pieces get more difficult, as does the complexity of finger patterns, but Cottam always manages to produce music that sounds more complicated than it is to play through very clever writing.

    This is great for the student as it provides a constant boost as you listen! There is also a distinct lack of fingering which I think is fantastic. Even for passages where it is not immediately obvious Cottam leaves you to discover the fingering that works, which means that you learn a lot more about the notes on the guitar and how to produce different effects.

    The pieces make excellent use of "campanella" effects. This cross string technique is important and wonderful on the guitar and not used enough in my opinion especially as we are learning. Wisteria is an excellent example with clever and flowing campanella scales, and Campanella Prelude uses the technique throughout to great effect.

    There are many different styles of music in the volume including some arranged traditional melodies, and David always seems to be able to put his own stamp on the music.

    His Malaguena is completely recognisable as the traditional dance form but also unique in the way he voices and fingers the chords.

    Little Cotton Socks, Little Toe Rag and Snapdragon all use fantastic articulation techniques where the player is required to use staccato in the bass voice and not the melody. This provides a big challenge but is so satisfying and brings out the humour and cheekiness that is suggested in the titles!

    My last two highlights are Zebra Music, which is very different as a piece to listen to, and also totally suited to the guitar, and Arachnophobia which reflects its title beautifully with the effect of the pull off slurs while asking for excellent control and positioning on the first string.

    The pieces that I have highlighted here are only a few examples put represent the strength of this volume, that is the unique approach, variety, use of the guitars natural assets and overriding fun in playing music on the guitar.

    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
    bach-inventions-8-15

    Bach Inventions Vol 2 8-15

    J. S. Bach

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    BMV 773 - Written for 2 guitars. Transcribed by Mario Martino & Andrea Schiavina. As with all UT Orpheus publications this edition is very clearly and cleanly printed which really helps when sight reading ensemble pieces. Music written by Bach, what more can I say, if you have an interest in playing ensemble which in my opinion you should at least try, then these Inventions are fun and challenging.

    Skill Level
    Intermediate
    Ensemble
    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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    290

    City Scenes

    Gary Ryan

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    Three original compositions Rush, Metropolis & Birds Flew Over The Spire. These works are challenging and very musical with The Birds Flew Over The Spire being one of the most popular pieces enjoyed by our own students and others who hear it played. If you are looking for new pieces to play and enjoy, City Scenes is a must have item.

    Skill Level
    Intermediate
    Advanced

    We came across this book through the Trinity grade 5 syllabus which includes the third piece Birds Flew over the Spire. If you read my guitar reviews you will recognize this as one of my firm favourites because it is a beautiful little piece of music, using the guitar so well and highlighting what the classical guitar is best at. The pieces in this book are very contrasting and fit beautifully within the title City Scenes.

    Rush was originally conceived as a study for the right hand thumb and is full of energy, with the 5/4 time signature constantly pushing the music forward, a strong bass melody and lots of syncopation and articulation. It is great to see how adding a title and ‘story’ to a study can transform it into an exciting, descriptive piece of music.

    Metropolis is a long piece with a difficult rhythm that looks very complex on the page but is fine once you get into the swing of it, as long as you work it out properly with counting first! The way that Gary uses material gives a real bustle to the music with gradually evolving patterns and harmonies and repeated sections bringing in subtle changes of mood.

    In the preface Gary describes it as “the non-stop bustle of a musical city where influences combine from many different ages and musical cultures.” Birds flew over the Spire is a wonderful relaxation after this with lovely campanella harmonies accompanying a fluid melody that twists and turns gently depicting the birds floating on thermals and warm currents of air. It is great for fingerboard knowledge and left hand movement but, more importantly for listening ad enjoying the musical phrasing.

    The preface by the composer is very good and the music is well laid out with clear fingering (not too much) and musical instructions.

    This is definitely music to have fun with!

    Selina.

    musvillaconcerto

    Concerto

    H. Villa-Lobos

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    Concerto pour guitar et petit orchestre. Printed by Editions Max Eschig with reduction for guitar and piano. Includes separate printing of guitar part. One day a member of a local orchestra will ask you to name a piece of music which you can both work on. Start the practice now! Don't wait to be asked.

    Skill Level
    Advanced
    mustansmandanza

    Danza Pomposa

    Alexandre Tansman

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    musbensa2preludes

    Deux Preludes

    Olivier Bensa

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    Skill Level
    Intermediate
    brouwer-paisaje-cubano-con-tristeza

    Paisaje cubano con tristeza

    Leo Brouwer

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    Paisaje Cubano con Tristeza (1996) is part of a group of compositions that evoke impressions on aspects of the Cuban landscape. The other pieces in this series are the Cuban Landscape with Rain and the Cuban Landscape with Rumba, both for guitar quartet, as well as Paisaje Cubano con Campanas for solo guitar. These works incorporate the sounds of minimalism more prominently than in Brouwer’s other pieces for guitar, using repetition as a musical basis. Paisaje Cubano con Tristeza, as its title implies (Cuban landscape with sadness), is different for its overt lyricism as opposed to the rhythmically insistent qualities of its predecessors.

    Skill Level
    Intermediate
    Advanced
    mustrinitytheoryg3

    Theory of Music Workbook Grade 3

    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
    musmertzvol3

    Guitar Works Volume 3

    Johann Kaspar Mertz

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    Edition of Collected Works comprising about one-third of the composer's total output. Selected and edited by Simon Wynberg. Mertz was a leading guitarist composer from the Romantic period and his works are frequently performed in concerts today. His works are in the language and style of Mendelssohn, Schubert and Liszt.

    Skill Level
    Intermediate
    Advanced
    musabauralbook2

    Aural Training In Practice Book 2

    ABRSM

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    Aural Training In Practice Book 2 provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical examinations. covering grades 4-5. A CD of all exercises covering grades 4-5 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
    Intermediate
    133

    Three Sonatas

    Anton Diabelli

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    These pieces were a lovely surprise for me offering more detail and interest than I had expected and really bringing the shapes, texture and style of the Classical period to the guitar. Guitar Solo. By Anton Diabelli. Arranged by Anton Stingl. This edition 36 pages. Published by Schott Music.

    Skill Level
    Intermediate
    Advanced

    These pieces were a lovely surprise for me offering more detail and interest than I had expected and really bringing the shapes, texture and style of the Classical period to the guitar.

    Simply put, the music is full of life, spirit, movement, drama and fun! It fits beautifully under the fingers but also challenges the player with detailed articulation and dynamics, as well as polyphonic writing that requires the guitarist to balance melodies in different voices rather than the simpler melody accompaniment style.

    Sonata no.1 in C has a strong clear opening with great direction in the melody. As I mentioned before articulation and dynamic markings are very specific, for example the distinction between a staccato dot and a tenuto or emphasis line, and chromatic movement in thirds really pushes the music along. The middle, minor section uses double octaves to create drama and volume, contrasting with pianissimo thirds and creating an orchestral feel and texture.

    The second movement has a delicate and refined character using wide intervals, articulation and silences to great effect. In the Menuet and Trio (grade 6) I particularly like the simple rising melodic motif punctuated with staccato chords and the brilliant ‘leaning’ notes across the bar lines creating lots of interest but quite simple to play. The final Rondo bubbles along in semiquavers with lots of contrast in articulation and rhythm, a great minor section employing restless syncopated chords and a truly orchestral ending.

    Sonata no.2 in A is more detailed and complex. The Allegro risoluto has a powerful opening using dotted rhythms and big chords. The dotted passages feature through the movement with lots of contrast, movement between voices and great use of rests and space in the music. The Adagio is based on pianissimo chords and arpeggio decorations, requiring a sense of poise I think and lots of listening to shape the music through the harmony.

    The Menuet and Trio (grade 8) is packed full of character and humour from the pompous opening bass to the bell ringing campanella effect, dramatic octaves and chromatic thirds. The final Rondo has a very charming, simple and delicate melody, rising smoothly then falling punctuated by rests. There is so much story telling going on in this music and there is always something to do! In many ways it is just like lots of people talking, different subjects coming up, surprises and colours of voices. This last movement is quite complex to look at but will give you hours of fun playing and listening to the musical theatre.

    Sonata no.3 in F is again very strong and dramatic at the opening and moves on with lots of contrast in the rhythms moving quickly between semiquavers and triplet quavers, syncopated chords and, again excellent articulation and punctuation. I particularly liked the little demisemiquaver birdsong motif! Overall the music is very free flowing with octave and interval passages and plenty of detail in the voicing. The Andante (grade 7) is quite simple compared to some of the other movements, concentrating instead on highlighting a beautiful, singing melody along with some lovely scrunchy harmonies.

    The Finale has a slow introduction with melodic motifs punctuated a ‘da da’! in octaves that is the brass section building up the tension for the main event! The Presto section is fast and lively with contrasting textures provided by chords, flowing intervals, single lines using staccato and slurred passages. The music looks more straightforward but the speed is very quick! The minor section has two voices competing with each other – great fun! - and the final Prestissimo cadence over 16 bars is made more exciting by the preceding, dramatic Adagio.

    This is lovely music that teaches us about theatre, excitement, colour and texture in music, as well as giving enjoyment and helping to develop technique.

    What more could you ask for!

    Selina.

    115

    Homenaje Le Tombeau de Claude Debussy

    Manuel de Falla

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    After the death of Debussy in 1918 Falla was asked to contribute to the planned memorial issue of Revue Musicale. Originally asked for an article Falla preferred to respond with a piece of music.

    Skill Level
    Advanced
    101

    Dyens Mambo des Nuances

    Roland Dyens

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    Skill Level
    Advanced
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