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

musscarlatti4sonatasUE29179

Four Sonatas UE 29179

Domenico Scarlatti

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Sonata K83 is one of the minority with more than one movement. The forst contains some startling dissonances, produced by adventurous contrapuntal activity, typical of Scarlatti's impish disregard for the established rules; the second is a minuet. Sonatas K80 and K94 are both minuets. Scarlatti is often difficult but he springs too many surprises ever to become boring.

Skill Level
Intermediate
Advanced

Scarlatti’s music is very effective on the classical guitar having originally been written for the harpsichord, which, even though it has a keyboard, is a plucked string instrument.

The music is clearly printed with plenty of space in the layout, and even though there is too much fingering advice in my opinion, the page does not look overcrowded or cluttered with numbers giving the player a feeling of choice!

There is a short but comprehensive forward well worth the read as it gives a concise summary of the harmony and style of the pieces, enough to help you to start to understand the pieces. For example he mentions “startling dissonances” and “adventurous counterpoint” – definitely attracting my interest before even starting to play.

There is also a paragraph explaining the notation and fingering at the end of the book.

Duarte uses the interesting (and wonderful) tuning of 6th sting to D and 5th string to G for the first two pieces. Don’t let this put you off! It does not take long to get used to and really helps the music to sit naturally on the guitar.

I particularly like the lilt of the triplet semiquavers in the second piece with the tuning creating a lovely open bass.

Watch out for the misprint at the end of the second piece – the bass note should be a G! The third Sonata maintains a steady crotchet pulse with shifting rhythms above and continuously moving chords with fascinating harmonic changes, while the final piece challenges you with the counterpoint of two very separate voices and lots of drama in the music.

These are all interesting, and less obvious, choices giving us a clear insight into the Baroque style of Scarlatti with its distinctly Spanish feel.

As Duarte says “ Scarlatti is often difficult but he springs too many surprises ever to become boring!

Selina.

guitaracademy1

Guitar Academy Book 1

Richard Corr

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This is a very well presented tutor covering many areas that others miss and providing clear explanations.

Skill Level
Beginner

This excellent tutor has now been divided into smaller volumes that are more manageable for the student. They still contain a lot of music and information, especially as the difficulty increases, but they are very well presented, cover many areas that others miss, and provide clear explanations without being too "wordy".

The books as a whole are accessible to all ages and would be suitable for adults to work through without a teacher (although this is never ideal!). The pictures illustrating technique are first class and there are constant references to maintaining good technique throughout each book including revision pages and tests. Each book follows a similar format beginning with a quick reference page and introduction, followed by a classical section, ensemble section and final chord section.

The structure and layout helps the student feel that they are learning something new and exciting on every page, even if it is only a game based on what they have already learned. This is very important for maintaining interest and momentum, especially for younger children. The many ideas for improvisation, ear training and theory are fantastic and so helpful for me, as a teacher who struggled to produce my own material while teaching such short lessons in too many schools! By bringing all of these elements together in such an easy way Richard Corr has produced a fun tutor that is helping to develop musicians, not just guitarists! It is a tutor that I highly recommend and will use - a breath of fresh air!

Book One

There is a comprehensive intro, addressed in turn to the student, the parent/guardian, the teacher and those teaching themselves. The writing here really draws you in emphasizing the excitement to the student, explaining the teaching method and practice to the parent, outlining the thoughts behind the teaching ideas to the teacher and adding encouragement to the self taught. This is followed by descriptions of different types of guitar, fitting strings, technique and sitting positions, tuning, reading music and a note reference picture. As each note is introduced, you can see it being played as well as having a written explanation.

Of course, all good teachers use demonstration, but it is invaluable to have the pictures to refer to between lessons. There are plenty of tunes to practice on as the notes are learnt which is so important, as repetition is vital to learning and variety maintains interest during this initial period. By the end of the classical section, the notes in first position have been covered, along with open basses, simple two-part music, rests and quavers. The ensemble section introduces the pentatonic scale and improvisation within an ensemble piece, which works brilliantly! A final ear training section explains intervals and describes ways to recognize them.

Book Two

This volume starts with a quick reference of notes, chords and accidentals followed by an introduction that takes the same format as in book one. It previews what there is to look forward to in book two, focussing particularly on free stroke and the importance of the improvisation and chord exercises in a students overall musical development.

There is an excellent introduction to free stroke describing where and why it is used, and the differences with rest stroke. There are pictures and written explanations on preparation for free stroke and correct and incorrect finger movements.

While many guitar teachers still disagree over the use of free and rest strokes in the early stages of learning (I start my pupils with free stroke) this book provides more information than is usual and so gives the pupil and teacher more choice. This introduction to free stroke is followed up by several exercises using chords in thirds and arpeggios helping the student to become familiar with the finger movements. The book then goes on to cover accidentals and key signatures, scales including the blues scale, ties, swing rhythm, dotted rhythms and 6/8 time signature.

Each new subject has clear written explanations, loads of pictures both amusing and technical, and plenty of exercises for practice. The section on playing fingers with thumb includes some very good open string exercises and even though it does move on to more difficult stretches, these are introduced in a way that makes them not seem so hard! The pieces at the end of the classical section are longer and more involved giving the student a real sense of progress and achievement. The chord supplement uses more involved strumming patterns, and introduces tablature.

Book Three

The introduction to this volume explains that you are now moving on to more advanced repertoire and techniques, and what this entails e.g. regular practice and care in matters relating to technique and most importantly, commitment and performance!

The revision page is followed by a brief history of the guitar with photographs of instruments through the ages, and mention of important composers, players and makers right through tp the birth and rise of the electric guitar. I think that this is a great idea as it takes the learning process beyond just learning to play a few notes or chords on a guitar.

The subjects covered in book three include left hand positions up to seventh, articulation, more complicated rhythms and key signatures including minor keys, damping with the thumb and slurs. Most importantly the book includes a lot of music to play! There are excellent original pieces by Richard Corr along with classical repertoire, easy arrangements of more difficult works and popular tunes from all styles of guitar playing. The chord supplement introduces different chord styles and theory, something that a lot of students learning to play chords simply miss out on altogether.

285

Travelling in Style Stage Four GM17

David Burden

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All the books in this series are versatile enough to be used as general repertoire alongside any teaching material. They were conceived to complement the Guitarists Progress and the Young Guitarists Progress teaching series. All the pieces are grouped together in collections with over 30 different pieces to choose from.

Skill Level
Intermediate

This series of books provides a wide variety of music for adventurous students wishing to get a taste of other musical styles and cultures, and in so doing, developing their technical and musical skills.

The Travelling in Style series was conceived alongside The Guitarists Progress teaching series but also works perfectly well as a stand-alone repertoire book, in this case for intermediate to advanced players.

As in the other books in the series it is divided into sections, in some cases continuing previous themes like the ‘Celtic Collection’, with new ideas in the ‘British Folk Song Suite’ and ‘Appalachian Album no.1’.

The music is printed very clearly with a refreshing lack of fingering, really sticking to specific fingering related to how the composer/ arranger wants the music to sound.

Each set of pieces has approximate gradings and extensive technical notes and directions. These talk about specific techniques such as pizzicato, tambora, slurs, glissandi and barres, as well as musical and stylistic suggestions.

The ‘Jazz Bar Set no.2’ some great rhythms and harmonies that classical guitarists may not have experienced before in their playing. I particularly love the arrangement of ‘She Moved through the Fair’ with a delicate texture created used harmonic and a gentle improvisatory feel through the changing time signatures. Burden talks a lot about the importance of sustaining melody and the balance between melody and accompaniment, evident in ‘Steal Away’, ‘The Unquiet Grave’ and a lovely arrangement of ‘Simple Gifts’. Development of a greater sense of rhythm and pulse is also a highlight; examples include a lively jig in ‘Gentle Fair Jenny’, exciting repeated chords in ‘The Gospel Train’ and great syncopation in ‘So What!’.

I particularly like the predominance of slower pieces that concentrate on feeling emotion through the music. A beautiful example is ‘I Wonder as I Wander’ where the relative technical simplicity allows the player to listen to the music, sing and really create the long slow phrases.

Some lovely music to add to your growing repertoire.

Selina.

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musscarlatt_4sonatasUE29149

Four Sonatas UE 29149

Domenico Scarlatti

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Skill Level
Intermediate
guitaracademy2

Guitar Academy Book 2

Richard Corr

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This is a very well presented tutor covering many areas that others miss and providing clear explanations. Book 2 follows on nicely from book 1.

Skill Level
Beginner

This volume starts with a quick reference of notes, chords and accidentals followed by an introduction that takes the same format as in book one. It previews what there is to look forward to in book two, focussing particularly on free stroke and the importance of the improvisation and chord exercises in a students overall musical development.

There is an excellent introduction to free stroke describing where and why it is used, and the differences with rest stroke. There are pictures and written explanations on preparation for free stroke and correct and incorrect finger movements.

While many guitar teachers still disagree over the use of free and rest strokes in the early stages of learning (I start my pupils with free stroke) this book provides more information than is usual and so gives the pupil and teacher more choice. This introduction to free stroke is followed up by several exercises using chords in thirds and arpeggios helping the student to become familiar with the finger movements. The book then goes on to cover accidentals and key signatures, scales including the blues scale, ties, swing rhythm, dotted rhythms and 6/8 time signature.

Each new subject has clear written explanations, loads of pictures both amusing and technical, and plenty of exercises for practice. The section on playing fingers with thumb includes some very good open string exercises and even though it does move on to more difficult stretches, these are introduced in a way that makes them not seem so hard! The pieces at the end of the classical section are longer and more involved giving the student a real sense of progress and achievement. The chord supplement uses more involved strumming patterns, and introduces tablature.

119

Guitar Music for Beginners Vol 2

Musica Budapest

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Skill Level
Intermediate
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mustimepieces2

Time Pieces for Guitar Vol 2

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
Intermediate

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.

98

24 Preludes Book 1

Gilbert Biberian

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Often intricate and complex, these Preludes are intended for a fairly advanced player, although there are no fearsome technical obstacles. They are composed skillfully and effectively for the guitar.

Skill Level
Advanced
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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
muszebracadabra

Zebracadabra

David Cottam

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Above all this music is great fun to play while offering excellent technical and musical progression for students of all ages.

Skill Level
Beginner

Above all this music is great fun to play while offering excellent technical and musical progression for students of all ages.

David Cottam manages to communicate many different musical styles using mainly simple notes, shapes and slides giving beginners access to a wider musical "atlas" and early experience of techniques such as "campanella" (cross string melodies) and articulation.

He introduces some quite difficult syncopated rhythms, but does so gradually so that you are not always aware of the offbeat rhythm until you hear the effect, and he uses easy notes so that the student can focus on the rhythm.

These pieces also explore the fretboard right from the start often using sliding chord shapes to develop the link between notes in the higher positions.

Cottam makes excellent use of finger patterns for both hands that help to produce music that sounds more difficult than it is to play - always a confidence booster for students! One of the best and most important features of the book for me is the lack of intrusive fingering. It is only marked when necessary to indicate patterns or positions that are not immediately obvious, giving teachers and students much more freedom, and developing sight-reading skills.

Examples that stood out to me include Grasshopper Guiro which develops "p" "i" technique across the strings and includes left hand strumming at the nut, and Swing Shift that uses simple sliding shapes and a swing rhythm that gradually becomes syncopated. Chimes of Saint Swithun where the slow, resonant cross string harmonies require good tonal control, and Tirandosaurus Rex where the repeated chords work on "tirando" technique and the "Primitive" direction allows the player to let rip!

My favorites have to be Icicles and Floating World where the wonderful use of natural harmonics produces beautiful, haunting melodies and harmonies through overlapping sounds. As a teacher, I highly recommend this book for students of all ages - wonderful for practising music making!

Selina.

musguitaristsprogress1

The Guitarists Progress Book 1

David Burden

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This collection of guitar pieces takes the beginning guitar student from reading music to playing pieces of approximately Grade Three standard. It leaves the teaching of technique, hand positions, and other fundamentals to the teacher but provides material for all aspects of the very early stages of learning the guitar.

Skill Level
Beginner
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musburdenguitarprog4

The Guitarists Progress Book 4

David Burden

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Book 4 covers the area approximately Grade 6 to Grade 8. Music has been selected to encourage improvement in areas of technique for Slurs, Development of Melody and Barre with part two of the book being called Recital Section.

Skill Level
Intermediate
Advanced
91

The Guitarists Progress Book 3

David Burden

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

Skill Level
Intermediate
316

Trinity Guitar from 2016 Scales Grades 6 - 8

Trinity College London

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Scales Arpeggios & Studies from 2016, containing all the scales, arpeggios and studies required for Trinity College London’s Guitar and Plectrum Guitar exams for Grades 6–8, valid from 2016. Newly commissioned studies are also included which may be used as an alternative to scales and arpeggios.

Skill Level
Intermediate
Advanced
310

Trinity Guitar 2016-2019 - Guitar Grade 4

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
294

Sonatina Meridional

Manuel M Ponce

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Adapted by Andres Segovia and printed by Schott. Three pieces form the sonatina and here Schott receive top marks for the quality, clarity and layout of the printing which really does make the studying that much easier. The three pieces work well together and the quantity of dynamics helps tremendously with ones understanding of the music.

Skill Level
Intermediate
Advanced

A definate for anyone who likes variety of expression, tone and technique. In this day and age of downloading I still prefer and enjoy a printed book and here the Schott edition is quality paper and quality printing bringing a nice feeling to ones practice time.

The sonatina starts with Campo, with an indication of Allegretto, this, I feel, allows you the emotional freedom to enjoy and interpret the music where if the marking was Allegro the extra speed indication would tend to make the music too fast for the ear to enjoy. Campo offers the player scope to work with tonal colour and to enjoy flashes of technique for both hands. If this is the first time you are stepping up to this level of musical challenge do be careful with the occasional left hand stretch, time spent in practice and attention to detail are worth the effort and will ensure you understand and enjoy the music.

Copla the second movement is to be played Andante. Copla, "A unit of verse consisting of two successive lines, usually rhyming and having the same meter often forming a complete thought". Looking at the music one finds plenty of demi semi quavers, don't be put off, keep the speed down and feel the movement carrying you forward. Personally I like to keep strict time using expression and dynamic to give the music its feeling of movement. Keeping alive the idea of two lines working together really does pay dividends.

Fiesta, now if you started too fast in the Campo and forgot to pull everything back with the Copla then here in the Fiesta you are going to wish you had used more control. The Fiesta has a dynamic marking of Allegro con brio and yes the con brio is a definite must not only for the music but also for your enjoyment. Gone are the demi semi quavers, now we have broken chords, rasgueado sections, dynamic indications of "Violento" "Destacado con humor" "Ironica", in fact reading just the dynamic indications tells you so much about the music and really brings the work to life.

What I really like about this music is that it sounds exciting and is very rewarding to learn irrespective of your current level of playing. If you can get your fingers around the notes, go for it and don't worry if someone else on YouTube plays it faster than you.

Adrian.

326

9 Fantasias for Guitar Solo

Alonso Mudarra

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Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.

Skill Level
Intermediate
Advanced
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
324

Grand Solo Op. 14

Fernando Sor

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Edited by Fabio Rizza. With this edition Rizza concludes that the Grand Solo op.14 was composed at a time when Sor was trying his luck in the World of opera in Barcelona. There are many editions of this work and in this edition Rizza leans a lot on Meissonniers second editon of the Grand Solo which was the last to be published during Sor's lifetime.

Skill Level
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.

59

Impromptus for Guitar

Richard Rodney Bennett

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This is a fantastic little set of pieces, very modern but with an incredibly expressive and often romantic feel. They form one of the many works that Julian Bream commissioned for the guitar from mainstream, twentieth century composers, so expanding the repertoire and giving us fantastic opportunities as guitarists to widen out musical knowledge and technical skill. Impromptus 1 to 5 for guitar, Universal Edition.

Skill Level
Intermediate
Advanced

This is a fantastic little set of pieces, very modern but with an incredibly expressive and often romantic feel. They form one of the many works that Julian Bream commissioned for the guitar from mainstream, twentieth century composers, so expanding the repertoire and giving us fantastic opportunities as guitarists to widen out musical knowledge and technical skill.

These pieces are small in stature and huge in content, requiring the guitarist to go beyond the ‘norm’, and possibly also beyond their comfort zone and range of experience, but in a ‘friendly’ way, exploring different sounds and colours, shaping intervals and long melodic lines, and experimenting with dissonant harmonies and subtle mood changes.

The use of the guitar is just brilliant, treating it like a ‘micro’ orchestra and the player like a true conductor.

There are big contrasts between the movements with very different moods created through the use of phrasing, articulation harmony and beautiful melodic intervals that really make you think and listen in new ways.

Number two is marked ‘agitato’ and has an angry, driving opening with rhythm and dissonance being the key to the emotion. The pulse is a very strong 3 in a bar with occasional upset and uncertainty caused by a rhythm of 4 against this. In contrast the middle section has a soaring and passionate melodic line which has a much freer feel to it before the opening section returns using very fast repeated semiquavers to enhance and drive the music further. The agitation culminates with a sforzando B harmonic to finish – nothing held back!

Number three is full of the most exquisite harmonies enhanced by the 6th string tuning to E flat. Shifting rhythms and wide dynamics create a dark atmosphere with melodies rising and falling, building tension from within the brooding bass resonance. There is so much space and texture in this movement requiring excellent control of RH technique for tone, colour and articulation.

The contrast as you move into number four is sudden and stark with hurried, urgent and agitated passages of pizzicato notes punctuated by strident, rhythmical and dissonant chords creating a fantastic build up of tension and sound. Again the contrast within the movement is provided by two forceful and passionate melodies, very wide in range of pitch and finishing with a fantastically strong sff dissonant chord. The agitated pizzicato then returns building to a huge fff climax. The movement is marked Con fuoco and really gives the player to let rip and experience the raw emotion of the music.

This bombardment of sound and tension is very suddenly released in number five. Marked Arioso this is a beautiful and simply melody accompanied by an ostinato figure and gently rising and falling. The overall emotion is melancholy, becoming fuller and more emotional as the melody rises and then returning to its beginnings. The final crescendo leads up to some forte chords but, unlike the previous movements these are rich and sonorous, leaving behind the fire, unrest and passion. The music falls from this point with a wonderful, rich and rhythmical melody of dotted notes, triplets and semiquavers into the lowest register and then pauses, suspended on a low B flat before a return of the first theme from number one, molto tranquillo and dying away to nothing.

This work is really made up of miniatures but hopefully you can see from this review that they are packed full of interest, technically of course but more importantly musically.

I love a chance to create an orchestra of sound and texture on my guitar and to see how sound creates emotion. With this piece you can really experiment. Yes there are some difficult techniques although the writing always makes the most of the guitar’s natural abilities. Once you have the control the world is your oyster.

Selina.

329

Christmas Carols

Fabio Rizza

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18 easy arrangements for guitar solo includes titles such as Coventry carol, The Wexford Carol, O Tannenbaum, Away in a Manger and many more. Beautifully printed, no cumbersome page turns, bringing fun and variety to the holiday period.

Skill Level
Intermediate
giuliani-variations-op45

Variations Op.45 sur les Folies d'Espagne

Mauro Giuliani

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Like most Renaissance court dances, the Follia was originally a country dance. Shaking off its merry but coarse peasant character, the Follia rapidly entered the repertoire of art music as a simple harmonic scheme upon which to improvise or compose variations. Consisting of Theme and six variations this edition by Fabio Rizza is clearly printed making for ease of study and performance.

Skill Level
Intermediate
Advanced
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327

8 Compositions for Guitar Solo

Alonso Mudarra

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Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.

Skill Level
Intermediate
Advanced
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