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

musweiss

Weiss for guitar

Silvius Leopold Weiss

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It is great to see these two collections being published, as the music is often difficult to find and choose when students reach the technical level required.

Skill Level
Advanced

It is great to see these two collections being published,as the music is often difficult to find and choose when students reach the technical level required.

I was especially impressed with the Weiss collection where the 10 movements chosen (from a huge repertoire of suites) work very well as stand alone pieces and transfer beautifully onto our 6 string classical guitar, without the player having to perform too many acrobatics and without losing the musical flow.

It is very important to introduce the repertoire of these two composers to guitarists as soon as possible. Weiss because he was a contemporary of Bach and wrote pieces of high quality and, arguably more suited to the guitar, and Scarlatti whose harpsichord music helps to develop a feel for the Spanish Baroque style where the guitar can recreate the textures of the harpsichord very well.

The editions are clearly set out and printed with excellent historical notes at the beginning of each volume. These notes are very informative and useful for the technical and musical interpretation of the pieces.

For the Scarlatti there is some background for individual pieces, as well as musical ideas and explanation of ornaments.

For the Weiss there is a more general history of how he wrote for the Baroque Lute developing the instrument to include 13 courses, and of his main format for composition, namely the suites of dance movements.

I particularly found useful the explanation of the Prelude or Fantasia, a form represented in the first piece in this book.

The Scarlatti pieces all fit the guitar well although the last two are technically complicated. My favourites are 3, 5, 6 and 7 from which I felt I could really get a lot of musicality, texture and rhythmic drive.

All of the Weiss movements are lovely with a lot of contrast to be found between pieces. The player can get a real feel for the dance styles and sophisticated harmonies that Weiss used. My highlights are the Rondeau and Sarabande (5 and 6), Paysanne (8) and Courante (9).

The only thing that I would like to have seen less of in these editions is fingering, especially for the left hand. The music is complicated and it is nice to have fingering advice but I found that it hindered my initial reading of the pieces and so it ended up taking me longer to become fluent!!

It is good for students and teachers to work out the best fingering for themselves through trial and error - in my experience you learn more thoroughly and have a better understanding of reading and technique this way.

Overall, this is excellent source material for any guitarist, not only to be used for exams but as essential repertoire. It is also beautiful and detailed music that all will be able to enjoy learning and mastering.

Selina.

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109

Tombeau sur La Mort de Mr. Comte d'Logy

Silvius Leopold Weiss

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Weiss was the most important and the most prolific composer of lute music in history and one of the best-known and most technically accomplished lutenists of his day. Anyone who knows how difficult it is to play harmonic modulations and good counterpoint on the lute will be surprised and full of disbelief to hear from eyewitnesses that Weiss, the great lutenist, challenged J. S. Bach, the great harpsichordist and organist, at playing fantasies and fugues.

Skill Level
Advanced

This is an absolutely beautiful piece of music, so majestic and full of tension and emotion.

I learnt it from this edition when I was younger but have not considered it for a while due to more modern editions.

Coming back to it I have found that, even though the key is further from the original than other editions, it gives a better rendition of the piece as the low D tuning allows ‘bigger’ chords and helps to create the depth and atmosphere needed. The Baroque lute had many more strings than the classical guitar and the piece has some wonderful bass lines that are impossible to recreate. However this tuning goes a long way to helping us hear the full, intense and compelling harmonic language of the original.

There is a facsimile of the original tablature source at the back, which is a great bonus and if you really enjoy the music it is well worth researching how to read this as you learn the piece.

The music is very slow, which is difficult, with a lot to listen to in the voicing and the harmony. A feel for pulse is very important with the slow speed as well as a good sense of rhythm, definitely one to count and not guess!

Tension and resolution is a big feature and wonderful to play – dissonant ‘scrunchy’ chords resolving and creating wonderful movement. The sequences are fantastic and help you with playing long phrases and bringing out individual notes and voices.

There is too much fingering for me and so it is good to try to adapt this for your needs.

The chords and melodies in this piece are heavily charged with emotion with long and beautiful phrasing making this is such a rewarding piece of music to play.

It is definitely one of my all time favourites.

Selina.

270

Anthology of Selected Pieces

Silvius Leopold Weiss

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Many of the works of Weiss were originally grouped by common key and it is to be assumed that the composer intended them to be performed as suites. However, it is from a number of unrelated pieces that the present anthology is taken - exceptions being the Ciacona, which belongs to the tenth 'suite', and Pasagaille from the fourteenth. In my opinion the set of eight pieces offered here represents Weiss at his most inspired.

Skill Level
Intermediate
Advanced

In my opinion the music of Weiss is a must for every guitarist. It is a great introduction to the music of the Baroque, being written specifically for the lute and so feeling more natural under the left hand when compared to the Bach lute suites

The Baroque lute was of course a very different instrument to our classical guitar, but the only real compromise is on bass lines and this edition is very well done with good explanations about the original music, ornamentation and steps taken to fit the music onto the guitar in the most effective and sympathetic way.

This information (contained in the preface – essential reading!) and the way that the music is fingered gives the player control. This is important; we have to remember that the music is transcribed from another instrument and there should be flexibility for the performer. For example, the editor decides the length of sustained notes as the original tablature does not show this. Burley points this out and it is important to be aware of this when learning the pieces, teaching you to listen to and interpret the music and not just learn technique and fingers.

The pieces in this volume are simply fantastic. The music has great depth and intensity with big chord progressions and sequences, long melodic phrases, wonderful clashes and resolutions in the harmony, lovely scrunchy dissonant chords and real musical drive created through melody and rhythm.

The notes carry us over the whole range of the fingerboard with rising sweeping arpeggios in the Fantasie, very long slow melodies in the Tombeau and lovely variations of melody in the Ciacona and Passagaille. The majesty of the latter is brilliant and overall the pieces are packed with emotion and excitement.

The Capricio is lively with driving counterpoint and great arpeggio chord progressions and the simplicity of the main theme of the Ciacona is sublime, the melody being varied over the same sequence throughout and always returning to that simple statement creating very powerful music.

This is difficult music and requires good technique, rhythm and pulse, however it is the musicality that shines through and teaches us so much about feeling our way through pieces and being directed by the sound and movement of the harmony and melody.

Selina.

100

Aquarelle

Sergio Assad

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

Skill Level
Advanced
105

Pumping Nylon

Scott Tennant

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Scott Tennant, world-class classical guitarist and well-respected guitar eduactor, has brought together the most comprehensive technique handbook for the classical guitarist. In addition to technical information not available elsewhere, he has compiled selections from Giuliani's 120 Right-Hand Studies; musical examples by Bach, Turina, Rodrigo and others;Tarrega arpeggio studies; and original compositions by Andrew York and Brian Head. Essential information and a great sense of humor are effectively combined in this best-selling book.

Skill Level
Advanced
282

Pumping Nylon Intermediate

Scott Tennant

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Welcome to the second installment of the repertoire supplements to Pumping Nylon. As the title indicates these pieces are more advanced and are primarily concert pieces. Consider this book to be a brief representation of the types of pieces that contain specific technique building elements. When practiced correctly they aid in the development of your guitar playing skills. CD included.

Skill Level
Intermediate
Advanced

I do find the title and cover of this book (and the technique book of the same name) very inappropriate to represent my beautiful and lyrical classical guitar, however, once I had got past this I could see the huge benefits for a student of the guitar, namely the great collection of varied pieces from old to brand new.

The pieces in this book offer a wide and varied ‘dip’ into the guitar repertoire from The Frog Galliard by Dowland, to a Coste study, a Villa Lobos inspired Etude and on to the cadenza from Concierto de Aranjuez by Rodrigo!

The preface explains how these are primarily concert pieces and therefore more substantial in technique, musicianship and length than in the previous volume. Tennant asks us to consider the book as a brief representation of the types of pieces that contain specific technique-building elements and, when practiced correctly and with intent, will aid in developing your guitar playing skills.

The techniques highlighted include arpeggios, left hand finger independence, chord balancing and specific techniques like tremolo. Each piece has its own checklist and a short explanation for its inclusion in the book. It is very valuable to be able to see the technical development needed in your various pieces so that you can practice them in the correct way, but it is also very important not to forget, and to make sure that you spend plenty of time practicing, the musical elements. Tennant has hinted at this in some of his descriptions, for example Variations sur les ‘Folies d’Espagne’ by Giuliani – “a typical and lovely variation set”, and The Frog Galliard – “I hope you derive as much joy from it as I have over the years.”

As in the previous volume the music is very diverse and offers as much experience in musical style as in technique. There are long flowing phrases and lovely harmonies in pieces by Milan and Narvaez, great fun in the Folies Variations by Giuliani and a fantastic study by Coste which inspires musicianship through the sounds produced by detailed articulation and slurs.

Alongside these are 2 flamenco studies by Adam del Monte that offer the classical student wonderful technical development and musical excitement and Plainte by Brian Head where voicing is the challenge, definitely not only a technical challenge. Having the cadenza from the Aranjuez is the icing on the cake and is guaranteed to make you feel good!

A book like this gives us many choices and experiences, as long as we use it with an open mind, don’t blindly follow technical checklists but use them as a guide and source of ideas for you to develop, and most of all enjoy playing the music.

Selina.

281

Pumping Nylon Level Easy

Scott Tennant

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The pieces in this book are selected and designed around the various techniques addressed in Pumping Nylon. They are offered as an extension of the exercises presented in that book and to provide attractive and easy pieces in which to apply the various techniques. CD Included.

Skill Level
Beginner
Intermediate

I do find the title and cover of this book (and the technique book of the same name) very inappropriate to represent my beautiful and lyrical classical guitar, however, once I had got past this I could see the huge benefits for a student of the guitar, namely the great collection of varied pieces from old to brand new.

The variety of music is fantastic with a firm base in the 19th century, a grounding that we should all have, and the book is very well presented. The preface is very interesting especially for me as I have long highlighted the importance of the 19th century repertoire. I do disagree with Tennant’s initial description of this music – “old fashioned, boring” - but I am glad that he has seen the light in putting the book together!

He explains how the pieces are chosen with technical development in mind and in the table of contents he has a checklist so that you can easily choose the areas that you would like to concentrate on. Each piece then has its own checklist for you to think about and develop as you learn. There is also a glossary of the musical terms and signs used, something that many of us neglect to learn!

Studies by Sor, Carcassi, Giuliani and Tarrega sit happily alongside exercises and pieces by York and Tennant and I am particularly pleased with the inclusion of 3 Pavans by Luis Milan, quite intricate and beautiful pieces that require good control of chords and multiple voices. Other, less well known, favourites of mine are the two little studies by Giuliani offering excellent right hand balance practice, Sor’s op. 35 no. 18 which has fantastic harmonic movement and again works on balance in the right hand, that is evenness of strokes with all fingers and thumb, Carcassi’s Etude no. 6 from op 60 that carries a beautiful flowing melody with the thumb and a lovely slur study by Giuliani.

Snowflight by Andrew York is a simple arpeggio piece that creates a beautiful, dream like atmosphere and A Pale View by David Pritchard is so gentle and unusual and I love it, with sustaining melody over campanella arpeggiated harmonies – a new one for the collection!

I do not necessarily agree with all the ideas and methods of practice presented in the checklists, however it is great to read these ideas and investigate how the pieces work. For me it is great to use as a reference, but mainly offers an excellent collection for any guitarist to work with and expand their knowledge of the repertoire. You can also enjoy all the quotes! My favourites are; serious – “The language of music is understood everywhere” (Nusrat Fateh Ali Khan) and humerous – “I know what a sextet is, but I’d rather not say.” (from a grade school essay on classical music)!

Selina.

301

Due Ragtimes

Scott Joplin

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Champagne Rag & The Entertainer written by Joplin and arranged by Mario Gangi. Interested in trying something different? then here you are. Good fun, light hearted and great at parties.

120

The Guitarists Hour Book 1

Schott

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An Hour with the Guitar presents a careful selection of the most beautiful pieces of guitar literature. All the names familiar to every professional and amateur guitarist - Aguado, Carulli, Carcassi, Coste, Giuliani, Sor, and many more - are represented in this collection and ensure much stimulating variety. These pieces, with grades of difficulty progressing from very easy to moderately difficult, will give not only the beginner but also the advanced guitarist some valuable material for teaching, entertainment and performance.

Skill Level
Beginner
Intermediate
132

The Guitarists Hour Book 3

Schott

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

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

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

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

Selina.

101

Dyens Mambo des Nuances

Roland Dyens

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Skill Level
Advanced
114

Libra Sonatine

Roland Dyens

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A piece of three movements consisting of A - India, B - Largo, C - Fuoco. Definately a tour de force, this piece will request much from the player yet will deliver something special to both the player and the audience. 11 pages of music Published by Editions Henry Lemoine

Skill Level
Advanced
4-venezuelan-pieces

Four Venezuelan Pieces

Rodrigo Riera

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Rodrigo Riera is a prominent Venezuelan guitarists/composer who attended many summer schools given by Segovia in the 1950's. These four pieces are among Riera's simplest works and are attractive student material at about Grade 4 level. All fingering and slurs in this edition are original.

Skill Level
Intermediate;
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124

Suite in D Minor

Robert De Visee

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Robert de Visée's origin is unknown, although of Portuguese origin he was likely to have studied with Francesco Corbetta. About 1680 he became a chamber musician to Louis XIV, in which capacity he often performed at court. Visée wrote two books of guitar music which contained twelve suites between them: Livre de guitare dédié au roy (Paris, 1682) and Livre de piéces pour la guitare (Paris 1686). Suite in D minor is his most popular suite.

Skill Level
Intermediate
Advanced

This really is a hidden gem in my opinion, but because of the explosion in music being written for students over the last few years in modern styles it is repertoire that is, all too often, overlooked.

It is a fantastic introduction to the Baroque style and period and offers an accessible step on the ladder to the complex lute music of Weiss and Bach.

The short introduction by the editor is very informative, talking about the manuscript source and the considerations needed in transcribing to the modern classical guitar, for example dealing with the double octave strings A and D on the Baroque guitar.

What is particularly good for guitar students is that you have the opportunity here to play a whole suite, which together is quite an extended piece of music and teaches a lot about contrasting movements and musical continuity.

You can also choose to play single movements and learn how smaller groups work together as they would have been played in the Baroque, for example the two Menuets with a da capo repeat. All the movements are very accessible and represent all of the popular dance forms that you will find in other music of the period, with voicing and part writing that fit very well under the fingers.

There are loads of opportunities to develop musical and technical skills, particularly in the long musical lines, phrasing and counterpoint.

There is a lot of fingering but if you are open to experiment with this it really helps you to define melodies and bass lines and demonstrates the importance of getting the correct fingering to allow the music to sing as intended.

Rhythm is of course very important with the different dances and is in general quite challenging here, ideal I think for the average guitarist who does not like to count!

For example in the Allemande the melodic lines are long, interweaving and often the rhythm can seem syncopated with less importance on the first beat of the bar. There is a similar effect in the Courante together with the combination of 3/2 and 6/8 in the time signature and the need for constant movement. Add to this the slow, stately line of the Sarabande, the bright spirit of the Gavotte, the poise of the Menuets, a simple lively Bouree and the light and lilting final Gigue and you have a wealth of music to explore and enjoy.

This Suite will help you with musical expression in finding tone colours and trying to bring out the differing dance characters, as well as coping with the counterpoint, phrasing and challenging rhythms.

Most importantly in approaching this more complex style of music it offers plenty of variety and enjoyable playing.

Selina.

musdeviseedelresole

Musica Del Re Sole

Robert De Visee

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Skill Level
Intermediate
musparkinsonleapfrog

The Leap Frog Principle

Rob Parkinson

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This book has been around for a number of years and it is one that I keep returning to, finding more that I like and want to include in my teaching and each time enjoying the fresh and unusual style of the pieces. I am particularly attracted to the sub title - "10 Popular style guitar studies for adventurous learners"!

Skill Level
Intermediate

This book has been around for a number of years and it is one that I keep returning to, finding more that I like and want to include in my teaching and each time enjoying the fresh and unusual style of the pieces. I am particularly attracted to the sub title - "10 Popular style guitar studies for adventurous learners"!

There is a very informative preface in which the composer puts forward his ideas behind the music which are very much to do with technique and ways to learn within fun and entertaining pieces. He describes his "Leapfrog Principle" as a notion to "use scale patterns against open strings, avoiding complicated chord fingerings..." . He then goes on to describe the advantages that this limitation has, for example making the music comfortable to play, extending fingerboard knowledge, improving position changing and encouraging efficient fingering in both hands, as well as introducing the idea of improvisation.

The pieces are clearly laid out, with a short introduction to every piece that has some technical information and help but is mostly there to describe the story of the piece! For example for no.2 "The Whistler's Tune" he has written: "People who whistle often don't remember all of the tune. This piece is ideal for whistlers because there are only a few bits that keep repeating. However in bars 21 to 28, the whistler still manages to forget the first phrase and tries to find it in different registers before eventually getting it right on the da capo."

All of the pieces are great fun using Giants, Butterflies, Genies, Grasshoppers and Ponies to bring out the contrasting characters really helping you to get involved in the music. Initially the written music does look quite challenging with quite difficult rhythms, lots of syncopation, a wide range of pitch and a lot of accidentals. Although the rhythms do look complicated on the page many will be familiar from everyday musical styles, e.g. swing and blues. The most important thing here is to get the feel of the pulse of the music. Once you can count and feel this, everything else tends to fit into place nicely!

As the composer says "a strong pulse is more important than strict accuracy, and a free, improvising rhythmic spirit should be encouraged."!

All of the pieces are very melodic with the melody often moving between the bass and the treble registers and any chords are usually small and mostly using open strings. Confidence in position changing and reading higher notes is important, although the melodies are based around patterns of fingering in different places so easier than they seem at first.

To return to the first example of The Whistlers Tune the last 2 lines consist of an identical finger pattern played in 4 different positions. However we always recommend that you can name the notes that you are playing, vital if you want to become a fluent and musical classical guitarist.

My favourites are Giant Jive, because it is wonderfully strange with a fantastic bass riff and some great clashes, and the Butterfly Boogie which has a light dancing feel and a warm character. A special mention is needed for Waltz for Two Left Feet,(definitely me!) as it is a real challenge to get the changes of beat but once you have mastered that you almost catch yourself tripping over as you play - a great idea and very effective.

These are great little pieces, inventive and fun while challenging your fingers and your brain. Perfect for beginners moving on and for better players wanting some entertaining performance pieces or simply wanting to brush up on those basic skills! If you are relaxed with the position changes and rhythms here you can try anything!

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.

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.

guitaracademy2

Guitar Academy Book 2

Richard Corr

Base price for variant: £8.95
Sales price: £8.95
Price:£8.95
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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.

guitaracademy3

Guitar Academy Book 3

Richard Corr

Base price for variant: £9.95
Sales price: £9.95
Price:£9.95
Discount:
Tax amount:
Price / kg:

Book 3 maintains the thorough and wide-ranging approach established in volumes one and two. Classical guitar techniques and repertoire are developed and supplemented by styles and techniques from various popular styles. Musicianship is encouraged through ensemble, ear training and improvisation.

Skill Level
Intermediate
Advanced

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!

 

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.

Selina.

 

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