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

musabsightreading

Guitar Specimen Sight-Reading Tests, Grades 1 to 8

ABRSM

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This volume contains valuable practice material for candidates preparing for the ABRSM guitar exams. Specimen tests for the new sight-reading requirements from 2009. Written in attractive and approachable styles representative of the technical level expected in the exam.

Skill Level
Beginner
Intermediate
Advanced
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musabscales2

Guitar Scales and Arpeggios, Grades 6 to 8

ABRSM

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This new edition contains all the scales and arpeggios required for the Grades 6–8 ABRSM guitar exams. All scales and arpeggios for the revised syllabus from 2009. Suggested fingering provided, helpful introduction including advice on exam preparation, user-friendly format and clear page-layout.

Skill Level
Intermediate
Advanced
52

Guitar Scales and Arpeggios Grades 1 to 5

ABRSM

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This new edition contains all the scales and arpeggios required for the Grades 1–5 ABRSM guitar exams. All scales and arpeggios for the revised syllabus from 2009. Suggested fingering provided, helpful introduction including advice on exam preparation, user-friendly format and clear page-layout.

Skill Level
Beginner
Intermediate
Out Of Stock Enquire
517

Music Theory in Practice, Grade 8

ABRSM

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Covers all aspects of the Grade 8 Theory of Music examination. Gives detailed advice on ways in which the examination questions might be approached. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Skill Level
Advanced
musabtheory7

Music Theory in Practice, Grade 7

ABRSM

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Covers all aspects of the Grade 7 Theory of Music examination. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Skill Level
Advanced
musabtheory6

Music Theory in Practice, Grade 6

ABRSM

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

Skill Level
Intermediate
musabtheory5

Music Theory in Practice, Grade 5

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 5 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout' many worked examples and practice exercises' definitions of important words and concepts' specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Skill Level
Intermediate
musabtheory4

Music Theory in Practice, Grade 4

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 4 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Skill Level
Intermediate
66

Repertoire Progressif Volume 1

Les Productions dOZ

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Repertoire Progressif is the first book in a series of six graded volumes. Each album contains a wide spectrum of styles and is split into organised sections. The 52 pieces in this volume come under the headings of Renaissance, Baroque, Classical, Various (traditional, romantic and contemporary), Studies and Duos. They contain a mixture of traditional guitar repertoire (Sor, Aguado, Giuliani, etc), new arrangements and some previously unpublished compositions by one of the editors of this series, Claude Gagnon (Marakesh, an evocative solo and two attractive duets.

Skill Level
Beginner

I really like the printing and layout in this book. It has a clean and spacious appearance that is immediately encouraging! The gradual progression of difficulty level through the book is well paced, travelling, at the same time, from the 16th to the 19th century.

The music was chosen by a large number of teachers from Quebec, resulting in a diverse collection of very tuneful and accessible music predominantly from the Renaissance, Baroque and Classical periods.

The first 9 pages offer loads of experience with easy 2 part pieces using mostly open bass strings. From there the technical progression includes arpeggio style, dotted rhythms, chords in thirds, keys up to 3 sharps and 2 flats, and, to finish the solo section, an easy arrangement of the opening of Asturias by Albeniz highlighting the bass melody

It is so exciting and encouraging to have music like this at the early stages of learning! I would like to highlight the single line, melodic studies by Sor which are so important for developing phrasing and singing skills.

It is also great to see a good collection of the standard repertoire by composers such as Sor, Aguado and Carcassi, music that is fantastic for developing a good solid technique while at the same time being enjoyable and satisfying.

There is a good selection of duets at the end of the book enabling the student to enjoy being part of more complicated music, with excellent arrangements.

Overall, this is an excellent edition with a clear and uncluttered layout and fingering that is kept to a minimum.

Grade 1

  • V’la l’bon vent: this is a simple, rhythmical 2 part piece using open basses, excellent for developing singing of the melody!
  • Lecon: a single line melody developing basic skills of phrasing and legato playing with simple 3 note chords at cadences

Grade 2

  • Chanson: a flowing waltz in D major and a crotchet rhythm.
  • Valse: a well-known “standard” by Aguado developing thirds and moving left hand shapes.
  • Ecossaise in A minor: this is a flowing 2-part piece by Giuliani using the accidentals of the minor key with the second half in the relative major, and some more detailed articulation in the bass.
  • Lecon in C: an extended single line melody by Sor excellent for shaping phrasing across wider intervals and for legato playing.

Selina.

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.

    musoneplusvol28

    One + One Volume 2 (Teachers Part)

    Chanterelle

    Base price for variant: £9.50
    Sales price: £9.50
    Price:£9.50
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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.

    musoneplusvol1

    One + One Volume 1 (Teachers Part)

    Chanterelle

    Base price for variant: £9.50
    Sales price: £9.50
    Price:£9.50
    Discount:
    Tax amount:
    Price / kg:

    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.

    musoneplusvol16

    One + One Volume 1 (Pupils Part)

    Chanterelle

    Base price for variant: £7.95
    Sales price: £7.95
    Price:£7.95
    Discount:
    Tax amount:
    Price / kg:

    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.

    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.

    mustimepieces1

    Time Pieces for Guitar Vol 1

    Peter Batchelor and Richard Wright

    Base price for variant: £8.95
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    These are excellent books and I find myself asking, Why wasn't this sort of syllabus available years ago. Preparing an exam syllabus is much more difficult than it may seem, and a thankless job, but with these books they have got it just right.

    Skill Level
    Beginner

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

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

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

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

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

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

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

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

    Highly recommended.

    Grade 1 pieces

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

    Grade 2 pieces

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

    Selina.

    musplaypiazzolla

    Play Piazzolla

    Astor Piazzolla

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    Play Piazzolla is a unique collection of 13 tangos by the Argentinian master of tango nuevo, arranged for easy solo guitar. The pieces have been skilfully arranged by Gary Ryan so that this wonderfully vibrant music can be easily enjoyed by younger guitar players.

    Skill Level
    Intermediate

    This book is a fantastic addition to the guitar repertoire as it opens up the wonderfully vibrant music of Piazzolla to a much wider audience, encouraging a more rhythmical, yet "freer" style of playing and increasing the variety of musical styles available to all players.

    Gary Ryan's arrangements are very skilful, in that no sacrifices in musical content are made for ease of playing.

    The music immediately transports you into the world of Piazolla's Argentine tango with syncopated rhythms, drama, excitement and his distinctive harmonies.

    The use of voicing is particularly effective and offers a real challenge to the player to be able to make the separate melodies sing along with each other!

    I loved the walking bass in Overture (2) with the snatches of melody above giving a feel of the different instruments in the band. Ausencias and Mumiki require a lot of freedom and feel of improvisation and the syncopation between voices in Milonga is great fun.

    I particularly like Milonga for Three, which has a bass rhythm to be maintained throughout, and contrasting textures, which go from dissonant and brooding to lighter chords and insistent driving rhythms.

    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.

    71

    33 Czech Folksongs - (Teachers Part)

    Peter Eben

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    Learning to phrase melodies is the goal in this well chosen selection of folk songs by leading Czech composer Peter Eben with teacher's accompaniments.

    Skill Level
    Beginner
    71

    33 Czech Folksongs - (Pupils Part)

    Peter Eben

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    Learning to phrase melodies is the goal in this well chosen selection of folk songs by leading Czech composer Peter Eben with teacher's accompaniments.

    Skill Level
    Beginner

    These beautiful, melodic, yet simple pieces have been arranged for 2 guitars from Petr Eben’s setting of 100 Czech folk tunes for solo piano – an achievement that he described thus:

    Reach into the jewel box, take a handful of precious stones and set them into children’s rings!

    The pieces are ideal for early learning as they emphasize the playing of melodies in low and high registers, shaping phrases and bringing out articulation. The pupil part always has the original melody with the teacher as purely accompaniment.

    There are suggestions for right and left hand fingering which the preface advises teachers to follow, as they have been included for essentially musical reasons.

    This is very enjoyable and charming music that also teaches style and interpretation and, most importantly for guitarists, how to follow a melody. Beginners are learning primarily how to sing a melody through the guitar, a vital first step in musical development.

    Grade 1

    • The pipes were playing at Pobuba: emphasizes smooth phrasing across strings with lots of dynamic contrast, using i, m and a.
    • Oh love, oh love: this is a very simple, slower melody with echoing phrases in octaves, and concentration on phrase shape, hairpin dynamics and expression.

    Grade 2

    • Andulichko, hello: a lively melody in 3/4 time, G major; question and answer phrases with repeat down an octave and fingering in third position.
    • When I took geese to the pasture: very strong quaver rhythm in 2/4 time, D major, that really brings out the character of the geese!

    Grade 3

    • Whose are these geese? : quite a melancholy melody requiring long phrasing and detailed dynamic control. The first melody is repeated down and octave and then again in thirds.

    Selina.

    70

    Solo Now - Preparatory Book

    Chanterelle

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

    Skill Level
    Beginner

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

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

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

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

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

    Grade 1

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

    Grade 2

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

    Selina.

    68

    The Young Guitarists Progress Part 1 GM39

    David Burden

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    Designed for young beginners learning individually or in groups. The New Things Sections introduce new notes, rhythms and techniques in a structured and entertaining way. Solos, duets and ensembles, including: The Batman TV Theme, Colours Of Day, The James Bond Theme and many more.

    Skill Level
    Beginner

    The layout and printing in this book is excellent with notes slightly larger than normal, and space and pictures between pieces.

    There are lots of well-known tunes in good arrangements, and I especially like the amount of solo pieces written in 2 voices using simple open basses. These provide invaluable experience for beginners at reading and playing two note chords, when books often move onto more difficult, fingered chords very quickly.

    This book is clearly linked to The Young Guitarists Progress, Part 1 and its sections called "New Things 1-7, 8 and 9, 10" etc. However, it works perfectly well on its own since each "New Things" is fully explained. For example, "New Things 10 – playing with the thumb and fingers together, the bass 5th and 6th open strings and dotted crotchets."

    Technically the book includes dotted rhythms, music with 2 voices and 3 note chords, tied notes and melody within simple arpeggios. There is even some simple syncopation in an excellent and very accessible arrangement of Eleanor Rigby.

    The final section of the book, on ear development includes some copycat exercises, pentatonic and blues scales, and simple ideas on improvisation. This is all very valuable and something that we should introduce to pupils as early as possible.

    Grade 1

    • Les Bouffons: a straightforward melodic arrangement of a well-known French traditional piece using the open D string as accompaniment. Cheerful and rhythmical!
    • Waltz in G: a flowing piece based on very simple arpeggios and chords, using up to 2 left hand fingers on strings 1, 2 and 3.

    Grade 2

    • A La Mode de France: this is in D major and mostly fingered in second position. Question and answer phrases using the same rhythms including dotted crotchets.

    Selina.

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