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.

Sheet Music Database

89

25 Etudes Esquisses (Complete)

Gerald Garcia

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This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises, but also as valid, pleasurable concert repertoire.

Skill Level
Intermediate
Advanced

This really is a great volume of pieces. Yes, they are quite contemporary and will probably introduce you to new sounds and musical ideas but they are also very accessible and cover a wide range of technical ability. Best of all they are very specific in their aims and goals and the music is notated in a lot of detail to help with the interpretation.

Each study has an indication of style/ tempo at the beginning such as Mesto, Allegro Comodo, Lento e ritardando and Lento piacevole. We need to know the meaning of these terms! There is also a sub title at the end of the piece that gives us a story line or feeling, for example Flocon de Neige, Les Grandes Jaunes, l’Indigo seul and Voiles rouges. Again understanding the meanings is vital and with the Internet these days there is really no excuse!

There are so many good tunes and interesting rhythms, and the studies are very valuable for technical development. Requirements include detailed chord voicing, fast repeated notes and chords, quick left hand movement around the fingerboard, arpeggio shapes and detailed right hand patterns, slur patterns, intricate articulation and sustaining long singing phrases. The harmonies are fantastic with strong musical direction and momentum guiding the player.

You really have to listen and the music is fingered in a way that keeps you on your toes and keeps you thinking.

For example in no.13 the temptation is to hold fingers down to cover repeated chords but the rhythmic character requires you to let go for clear articulation. When you get it right it creates a brilliantly quirky and fun piece of music. In no. 14 (AB grade 5) the voicing is indicated with stems, sometimes double and sometimes offset, and it is very important to play to these voices and concentrate on holding sustaining notes and letting go of others in the right places. This means that you have to be very aware which of your fingers are playing which notes!

Dynamic control is a highlight throughout the book. In no.3 (AB grade 5, Trinity grade 5) there are long crescendos and diminuendos over the repeated note patterns and changes in mood and key that need to be reflected. Slurring technique is well covered, which is great since it seems to be one of those techniques that we just do rather than learn.

From the lilting melody of no.4 (AB grade 7, Trinity grade 6) and the haunting mood of no.20 to the vivace slur patterns in no.7 (Trinity grade 4) and the rhythmical and complex no.17 where the slur pattern is often in the middle voice needing great technical control, there is certainly enough variety to keep your interest and so improve your technique. No. 22 is one of my particular favourites as it uses only a single written line but implies many voices and is excellent for phrasing and interpretation.

There is not really enough space here to talk about every study but I hope that I have been able to inspire you to play this music. It works on just about every technique that we need in a fun and engrossing way, so that you do not feel as if you are working on technique. Even more importantly it develops your reading and interpretation skills, it makes you think about technique related to music and it is completely satisfying!

There is so much to enjoy and to work with in this volume, developing important skills whilst enjoying some excellent music. I would say an essential book for all guitarists from grade 4 upwards.

Selina.

75

First Guitar Pieces

Gerald Garcia and John Whitworth

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A very popular collection of eight attractive pieces, drawn from many parts of the world. The pieces are suitable for the elementary player who is ready to study music in two voices, and have been chosen for their musical value whilst remaining within strict technical limits.

Skill Level
Beginner
276

Latin America

Gerald Schwertberger

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This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated. What more can I say?

Skill Level
Beginner
Intermediate

This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated.

Interestingly, in the Preface the composer says “The point of this edition is to introduce guitarists to these dances, with all their appealing banality and stereotype turns of phrase.” In this he has been successful and although (or perhaps because) the music is not deep and meaningful, I was immediately drawn to its life and character and thoroughly enjoyed playing through the pieces.

The pieces are mostly in first position and generally based around chord shapes from which the melodies develop. There is, as you would expect a lot of syncopation, written in such a way that it is not difficult to work out and hear, although you will of course need to count! The greatest challenge is in the tempos; some of the suggested metronome marks are pretty quick and do give excellent results. However the music is still very effective at slower speeds and so provides very good technical development work. He achieves some great effects with rhythm and right hand patterns and each piece has a distinct character.

Highlights for me include Bossa Nova Breeze, which is ‘cool’ and relaxed with good use of chords and emerging melody lines. Nostalgia has a lovely bass melody topped by a syncopated accompaniment that uses some nice scrunchy harmonies. Bamba Samba is simply great fun and Nightwinds has an evocative atmosphere with its combination of rasgueado chords over the melody line.

The final Bossa Nova is a more challenging piece, with a straightforward right hand pattern that goes fast and some interesting harmonies to find.

Overall a book of sunshine that will bring a smile to your face and please and impress your audience.

Selina.

musdivertissements2

Divertissements 2 Pour Guitar

Gerard Montreuil

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11 Popular pieces written in order to stimulate the beginner's interest and to improve the learning of the guitar. These entertaining pieces will please players and listeners alike.

Skill Level
Beginner
Intermediate

These are a nice range of pieces written in a variety of musical styles.

My favourite thing about this book is Montreuil’s phrasing. He has taken time to write specific phrasing into the music, in his words, “in such a way as to show several possibilities of articulation”. This really makes you think about how the music is constructed and how different inflections can give a piece new life. With this in mind, these pieces are musical and fun to play.

Each piece is crafted to develop different skills; the two tangos introduce the player to syncopated rhythms and complex semiquaver rhythms, and are great when played with gusto! Unusually for beginners pieces, Crépuscule and Emeraude are slow burners; this helps the player to develop a sense of space in the music, improving musicality no end as the player learns not to rush through the music. Montreuil has written more interesting chord progressions into Emeraude, making the harmonies lush.

Other techniques are covered toward the end of the book, such as strummed chords (Orgue de barbarie), and the last piece (Premier Amour) is beautifully lyrical, making use of notes higher up the first string and harmonics. Overall, these are simple yet memorable melodies with interesting musical lines that provide you with an arsenal of pieces to entertain as well as enhance your playing.

Jess.

musdivertissements

Divertissements Pour Guitar

Gerard Montreuil

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A collection of fourteen entertaining pieces written by the noted musician and teacher, Gerard Montreuil. Players will be delighted by the short pieces, leading to greater skill on the guitar and opportunity for further study.

Skill Level
Beginner
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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musiclongroad

The Long Road Home

Gordon Giltrap

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

Skill Level
Intermediate

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Selina.

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
103

Collected Works for Solo Guitar

H. Villa-Lobos

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

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

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

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

Selina.

280

Segovia - Albeniz Transcriptions

Isaac Albeniz

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From the front cover to the back page this is a beautifully printed edition of these wonderful pieces by Albeniz. Granada, Mallorca, Oriental and Zambra Granadina are printed in such clarity with space to allow easy reading of the music. If you love the music then you should definitely try this edition.

Skill Level
Advanced

I think that this is a lovely volume of pieces, firstly because of the historical significance of Segovia as a player and as an arranger. Segovia brought a lot of new music into the guitar repertoire through commissioning and arranging, making a big contribution to the development and success of the guitar in the second half of the 20th century.

Now that our technique and interpretation ideas have moved on these arrangements are often not considered any more. Of course there are so many editions available now and access to original scores is much easier with the internet, but I think that Segovia’s transcriptions are really worth looking at.

The book is very well presented, simple with large, clear print and wide spacing between staves – plenty of room for your notations. There is plenty of fingering but it is not unnecessarily repeated (e.g. in repeated sections) and on the whole it is very good. Do not be afraid to change it as long as you consider the flow of the music! Rather than just giving the guitarist the notes from the original piano Segovia has arranged these pieces to fit on the guitar technically and musically which is quite a skill.

Chord voicing and pitches are obviously going to have to change and it has been done in such a way as to allow the music to flow comfortably under the fingers and to feel and sound natural. Segovia also exploits the natural features of the guitar, which actually enhances the music.

Moving beyond the arrangements the music itself is gorgeous, rich in Spanish character, colour and emotion. I love the beautiful, gentle pulse at the opening of Granada with the contrasting minor section and overall movement and drive in the music. The D tuning in Mallorca gives a wonderful resonance to the bass line balancing the long, soaring melody with comfortable left hand movement over the whole range of the fingerboard. The close position chords in Oriental are fantastic and again fit very well under the fingers creating great textures and musical drive, and the rich harmony and wide range in melodies and chords in Zambra Granadina are just wonderful, particularly for me as I love low notes!

There is no doubt that these pieces are difficult to play and require good technical, rhythmical and listening skills, but they have been arranged for the guitar in a very sympathetic and natural way that gets the best from the music and the guitar making them well worth the effort.

Selina.

194

En La Playa

Isaac Albeniz

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Garden Music edition - Arranged for guitar by David Burden. En La Playa (on the beach) is the seventh and last piece from Recuerdos de Viaje (Souvenirs of Travel) Op71 written in 1887. This is one of Albeniz's most beautifully lyrical pieces and, like so much of his music, is guitaristic in its character and invention.

Skill Level
Advanced
296

Bach Lute Suites for Guitar

J. S. Bach

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The complete works for lute solo newly transcribed and annotated, including historical and performance notes. This publication is very nicely printed with space between lines and around notes so for those of us who either wear or should wear spectacles it makes life a lot easier. This edition is Selina's favourite and in her opinion the best!

Skill Level
Intermediate
Advanced
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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bach-chaconne

Bach Chaconne BMV 1004

J. S. Bach

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Chaconne from Partita for violin No2 for guitar solo transcribed by Paolo Cherici. Adopting Bach's own criteria for transcription Cherici has been able to adapt the violin writing to the guitar helping to bring out the natural resources of the guitar. At the same time fingering has been considered to help suggest a possible phrasing.

Skill Level
Intermediate
Advanced
bach-french-suite-no1

Bach French Suite No.1

J. S. Bach

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BMV 812 - Written for 2 guitars this transcription has kept to the critical edition of the French Suites published by G. Henle Verlag. The only changes to the original text involve adopting new keys more suitable to the technical requisites of the guitar. Some fingering has been added to the individual parts and all the original phrasing and ornaments have been reproduced in this edition.

Skill Level
Intermediate
Ensemble
bach-inventions-1-7

Bach Inventions Vol 1 1-7

J. S. Bach

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BMV 772 - 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
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
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.

muswanderslatinduetsvol1

Latin Duets Volume 1

Jeop Wanders

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Book 1 is a great place to start for those interested in duet playing. Clear and easy to read this first book in the 2 book series offers each player music in two part harmony with a variety of rhythms that introduce the Latin feel and best of all the music is fun. Joep Wanders style of writing suits the guitar beautifully and you will gain a huge amount of confidence from playing these pieces. A play along CD is also included.

Skill Level
Beginner
Intermediate
Ensemble
muswanderslatinduetsvol23

Latin Duets Volume 2

Jeop Wanders

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Book 2 of Latin Duets is a very cleanly printed work consisting of an exciting variety of Latin styles. Joep Wanders style of writing suits the guitar beautifully and you will gain a huge amount of confidence and fun playing these pieces. A play along CD is also included.

Skill Level
Beginner
Intermediate
Ensemble
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