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

74

Le Petit Livre de Guitar Vol. 2

Claude Gagnon

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A collection of 25 pieces from the Renaissance & Baroque eras arranged for solo guitar by Claude Gangon. Featuring composers such as Milan, Tourdion, Galileo, de Visee & Bach. This is an excellent book for the aspiring student.

Skill Level
Beginner
Intermediate

I must admit to particularly liking this little book as it highlights the music that I really love!

This music is tuneful and rhythmical and in my experience students really enjoy playing the pieces while learning a lot both musically and technically.

The printing and layout is very clear and fingering seems to have been kept to a minimum contributing to the uncluttered look and "readability".

The choice of music is excellent introducing the stylistic features of the period, for example the "divisions" that shaped the music of the Renaissance, in good arrangements and transcriptions.

In particular this music introduces students to ‘counterpoint’ – two or more melodies played at the same time – starting with melody and simple bass and working up to more complex music by Milan, Dowland, de Visee and Bach.

The progression of difficulty is clear through the book with the D minor Prelude by Bach an important and satisfying goal to aim for at the end. This is one of my highlights; others include Pavane by Milan and the Saltarello by Galileo which has been a favourite piece of mine since first playing it as a child.

I would put the music here at a grade 3 to 6 standard, and I think it is invaluable repertoire for aspiring guitarists, definitely encouraging further exploration into these styles.

Selina.

101

Dyens Mambo des Nuances

Roland Dyens

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Skill Level
Advanced
100

Aquarelle

Sergio Assad

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

Skill Level
Advanced
92

Easy Pieces from Shakespeares Time Vol.1

Karl Scheit

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This music, in its beauty and easy playability, constitutes an excellent introduction to the extensive lute literature of the Elizabethan Era. Through the pieces in this collection the player, from the outset, will be made familiar with the most diverse interpretation techniques, such as ornamentation, diminution and song settings for lute alone. Includes pieces by John Dowland, Francis Cutting and Thomas Robinson. These two volumes are full of pieces that have stood the test of time and are a must for anyone learning the classical guitar.

Skill Level
Intermediate

I am so enjoying reviewing our music because I am being reintroduced to a lot of the music that has been part of my life with the guitar and realizing how much great stuff there is to choose from whatever your level and expertise.

These books probably represent my first introduction to music of the Renaissance, music that is still my favourite.

We are so lucky as guitarists to have repertoire that spans so many centuries to choose from and the pieces here are simply great for developing musical skills like counterpoint, highlighting voices, repeated chords and exciting rhythm.

These books have been around for a long time, a fact that reflects their value on technical, musical and enjoyment levels. The printing is clear and the edition is good with fingering suggestions rather than the blanket fingering that is common among modern editions. The books include a wide range of music, from simple dances to slower more gentle pieces and on to quite difficult rhythms, voicing and counterpoint. Many of the pieces use compound time like the delightful A Toy and Wilson’s Wilde in volume 1, so good for improving your counting skills and developing a real feel for pulse which is so vital for flowing and musical performance.

What if a Day (vol.1) is excellent chord voicing, listening to harmony and keeping a smooth melody over the top. More detailed counterpoint is evident in Grisse his delight, An Almaigne and Alman (vol.1) with melodic lines being introduced in up to three lines as well as supporting harmony. This is such valuable experience for the developing guitarist as we are so used to thinking vertically. Here we can learn to find, sing and highlight the different melodies and the resulting phrasing, dissonances and musical drive are fantastic.

Volume 2 also includes a range of pieces reaching to a higher level than the first volume. I particularly love the Volt and Currant, musically simple with great drive and technically tricky with a fast melody over a repeated arpeggio in the bass – learning what it is like to be more than one musician on one guitar! Go From my Window and Fortune introduce the idea of F# tuning which allows the fingering to follow how it would have been played on the lute.

There is a lot of detail in this music but also loads of spirit, movement and fun. From an early stage it particularly teaches us to listen and on a technical level is especially good for the left hand developing independence and flexibility across the strings. I will certainly be bringing these into my teaching. The music may be very old but it is some of the best and accessible from an early stage. It may not seem trendy but that doesn’t matter because it is great fun to play!

Selina.

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.

musferrercharme

Charme de la Nuite

Jose Ferrer

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A charming selection of character pieces for Guitar. Ferrer's compositions were written mainly for solo guitar and resembled the fashionable salon music of his time

Skill Level
Intermediate

I think that this book offers a great opportunity to guitarists of all levels to explore and, most importantly enjoy, some wonderful pieces.

The preface describes it as charming salon music, a perfect description for music that challenges the technique but is always imaginative and fun encouraging exploration of colour, texture and musical shape. This is not heavy or serious music, which is refreshing, and highlights the reason that we play – to enjoy and let others enjoy lovely music!

The music requires the player to look into what they are doing musically and to think about shape and direction. For example Ferrer uses for lightness, drama and suspense – the music doesn’t just stop! There is a lot of colour and texture to be found in the music, as well as dynamic control that is not necessarily marked.

There are demands on technique appropriate to the different levels of difficulty, all strongly associated to musical shape and style – articulation, right hand arpeggios, slurs and fluent movement around the fingerboard to name a few. The music is more romantic and emotional in style, falling really between Aguado and Mertz.

I love the use of the whole fingerboard in Ejercicio, creating drama, and the slurring motifs in El Amable with the melody moving easily between treble and bass parts. Ferrer uses some more unusual keys for guitarists; F major in Estudio developing a strong barre technique, and C minor in Nostalgia which has the added challenge of constant accompaniment figures. L’Etudiant de Salamanque has some lovely Spanish flavours and contrasts in a Tango and Vals finishing off with an effective and great tambora section. In complete contrast is Charme de Nuit, a nocturne that is free and unashamedly romantic! My personal favourite is Belle. This is such a happy piece guaranteed to bring a smile, especially the tuba section, while still challenging the player’s technique, particularly right hand.

The pieces in this little book go from grade 4 to 7, giving a player a great sense of development both technically and musically, introducing new music and style, and providing great entertainment. What more do we need?

Selina.

muspaggrandsonata

Grand Sonata

Nicolò Paganini

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Niccolò Paganini was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique. There is a very short preface to this edition in which the editor explains that the original was for guitar with violin accompaniment, but the part allocated to the violin is so modest as to be hardly worth the effort

Skill Level
Intermediate
Advanced

There is a very short preface to this edition in which the editor explains that the original was for guitar with violin accompaniment, but the part allocated to the violin is so modest as to be hardly worth the effort!

Paganini played both the violin and guitar to virtuoso level and so composed his pieces for the instrument that he was playing with the other generally having a very simple accompaniment roll. The editor explains that the wealth of musical structure and invention in the Grand Sonata makes it worthwhile incorporating the violin part into a solo guitar piece, and it does make a very successful, exciting and virtuosic composition.

There is no doubt that you have to have a very good mastery of the guitar as well as relaxed technique and freedom of movement to pull this one off successfully, although the Romanze which is the choice in the grade 8 list is a good and more accessible opening to the style, being slightly slower in tempo!

The first movement Allegro risoluto is quite extensive and has some charming singing melodies that link throughout the movement. The variety of textures created using flowing octaves, arpeggio figures and alberti bass accompaniment is very reflective of the classical period, really bringing the guitar into the mainstream of musical style and development. The challenge is to make it all work so that you can hear the drama excitement intended by the composer through freely and quickly flowing notes and movement all over the fingerboard.

The Romanze has a lovely melancholy with its simple, lilting melody. Here the challenge is to maintain this simple feel while dealing with demisemiquaver accompaniment and melody notes doubled variously in thirds, sixths, octaves and tenths. There is also a lot of freedom implied and required in the music, really giving it the feel of a cadenza.

The final movement is in the form of a Theme and 6 variations. The theme is a very jaunty tune with a dotted rhythm that is almost shouting out to be decorated! Paganini does this using triplet rhythms, movement in all intervals both together and split, slur patterns, rapid repeated notes over melody in the bass, and, in variation 6 some loud slurring to open strings and a lot of very quick and unusual chromatic movement. In fact the piece ends in an unexpected way with a repeated and disappearing chromatic motif that is actually very effective.

All in all this is an exciting and impressive piece with lots of detail to find and explore, very good for your technical development and simply good fun to play!

Selina.

212

The Real Guitar Book Vol 3

Lee Sollory and Nick Powlesland

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The Real Guitar Book project evolved after a frustrating and largely unsuccessful attempt to find exciting, challenging music for a new generation of solo guitarosts who were not interested in the classical approach. The result is this compilation of original repertoire that sets out to inspire while also developing technique and musicianship. The aim has been to create a progressive selection of pieces that is accessible to relative beginners as well as more experienced players.

Skill Level
Beginner
guitaracademy3

Guitar Academy Book 3

Richard Corr

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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.

 

292

Easy Pieces from Shakespeares Time Vol.2

Karl Scheit

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A characteristic of the musical practices of the time was the freedom with regards to the choice of instrument. Here the editor has brought this same freedom this guitar edition. The volume contains well known and enjoyable pieces such as Toy, Packington's Pond, Kemp's Jig. In total there are 15 pieces to experience and enjoy. These two volumes are full of pieces that have stood the test of time and are a must for anyone learning the classical guitar.

Skill Level
Intermediate

I am so enjoying reviewing our music because I am being reintroduced to a lot of the music that has been part of my life with the guitar and realizing how much great stuff there is to choose from whatever your level and expertise.

These books probably represent my first introduction to music of the Renaissance, music that is still my favourite.

We are so lucky as guitarists to have repertoire that spans so many centuries to choose from and the pieces here are simply great for developing musical skills like counterpoint, highlighting voices, repeated chords and exciting rhythm.

These books have been around for a long time, a fact that reflects their value on technical, musical and enjoyment levels. The printing is clear and the edition is good with fingering suggestions rather than the blanket fingering that is common among modern editions. The books include a wide range of music, from simple dances to slower more gentle pieces and on to quite difficult rhythms, voicing and counterpoint. Many of the pieces use compound time like the delightful A Toy and Wilson’s Wilde in volume 1, so good for improving your counting skills and developing a real feel for pulse which is so vital for flowing and musical performance.

What if a Day (vol.1) is excellent chord voicing, listening to harmony and keeping a smooth melody over the top. More detailed counterpoint is evident in Grisse his delight, An Almaigne and Alman (vol.1) with melodic lines being introduced in up to three lines as well as supporting harmony. This is such valuable experience for the developing guitarist as we are so used to thinking vertically. Here we can learn to find, sing and highlight the different melodies and the resulting phrasing, dissonances and musical drive are fantastic.

Volume 2 also includes a range of pieces reaching to a higher level than the first volume. I particularly love the Volt and Currant, musically simple with great drive and technically tricky with a fast melody over a repeated arpeggio in the bass – learning what it is like to be more than one musician on one guitar! Go From my Window and Fortune introduce the idea of F# tuning which allows the fingering to follow how it would have been played on the lute.

There is a lot of detail in this music but also loads of spirit, movement and fun. From an early stage it particularly teaches us to listen and on a technical level is especially good for the left hand developing independence and flexibility across the strings. I will certainly be bringing these into my teaching. The music may be very old but it is some of the best and accessible from an early stage. It may not seem trendy but that doesn’t matter because it is great fun to play!

Selina.

muslauro2venzwaltz

Two Venezuelan Waltzes

Antonio Lauro

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Two very well know works entitled El negrito. the black haired one, which refers to Lauro's son, Luis and La gatica, the female cat. The pairing of these pieces is as Lauro intends it. Nicely printed, easy to read with no page turns within pieces. A buy must for all guitarists.

Skill Level
Intermediate
musUhl10pieces

Ten Pieces for Guitar

Alfred Uhl

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Do not be misled by the title, there are only 5 pieces within this edition. Having said that, the music is fun and well written allowing the player freedom to move around the fingerboard. If you are looking for intermediate pieces with which to challenge your sight reading skills and encourage fingerboard speed, look no further.

Skill Level
Intermediate

Playing these pieces really took me back since I played the Aria for my grade 5, what seems like an age ago!

There are three pieces offering contrast in character but strong links in melody that means they work beautifully together. The music is full of strong treble and bass melodies, driving rhythms, exciting harmonies and lots of opportunity for contrasts in articulation and tone. Techniques include fast articulation, control of long slurred passages and fluid movement around the fingerboard.

There are 6 pieces in this volume and I think they are a great set, introducing players to a contemporary style, possibly their first time, while remaining lyrical and fun to play. There is plenty to think about with quite detailed dynamics and articulation, plenty of melodies to follow, clear musical shape and some quirky harmonies.

The Bagatelle is unusual but in a way to get you interested with a strong rhythm and lyrical melody. I love the Aria with its lilting, melancholic melody ebbing and flowing throughout the piece, and the Capriccio is lively quick and rhythmical.

The printing is nicely spaced with quite a lot of fingering, most of which is necessary to convey the movement around the fingerboard.

In fact this is one of the main challenges in the music, very good for reading and fingerboard knowledge while also giving the player plenty to look for in telling the stories of the pieces and experimenting with tone and colour.

Definitely recommended.

Selina.

94

Cavatina

Alexandre Tansman

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Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy. Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

Skill Level
Intermediate
Advanced

The last time that I played part of this suite was when I was doing exams myself too many years ago to mention! It is brilliant to revisit and realize how much there is in the music in colour, texture and expression. In fact since I have started reviewing I am going to be learning and relearning a lot of different and exciting pieces!

Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy.

Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

The opening ‘Preludio’ (grade 8) is marked Allegro con moto and has a bright and rhythmical opening section using motifs and patterns that help the ear to learn the style, along with more chromatic writing. The central section is slower with a lovely singing melody line.

The Lento ‘Sarabande’ (grade 7) has a tranquil melody built around a wistful triplet figure with contrapuntal voices and lovely harmonies created from suspended notes and gentle dissonances. I particularly like the long, singing, mellow bass lines – great for shaping and developing tone.

You then have to turn to the final page of the edition for the 3rd movement, ‘Scherzino’ (grade 8). This has a tremolo opening with a subtle build up of tension leading into the Piu vivo that echoes rhythm patterns from the 1st movement. There are lots of left hand patterns, falling sequences and rhythms that cross the bar lines. There is a great, ‘bouncing’ central melody with a fanfare type ending building chords across repeated bass ‘E’s, again echoing the beginning of the suite.

Turning back a page the final ‘Barcarole’ (grade 7) has a 6/8 rhythm, starting ‘dark’ and opening into warmth and light with a lovely lilting movement over the full range of the guitar.

This movement was one of my first experiences of more contemporary music, and a very good one since I have continued to enjoy exploring new music over the years.

It is great that this music is back in the syllabus and I hope that many more guitarists will be adventurous in exploring this classic and important repertoire.

Selina.

sakura-variations

Sakura Theme and Variations

Yuquijiro Yocoh

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Theme and variations on the Japanese folk song Sakura is Yuquijiro Yocoh's most famous work and has been played and recorded by countless guitarists.

Skill Level
Advanced
Out Of Stock Enquire
musoneplusvol28

One + One Volume 2 (Teachers 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.

musoneplusvol1

One + One Volume 1 (Teachers 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.

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
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.

76

Solo Now Volume 2

Chanterelle

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Volume Two of the Solo Now! series contains twenty-five original progressive guitar solos for the beginning classical guitarist. Part of the EGTA Series, Solo Now! focuses on development of a stable yet relaxed right hand position while nurturing correct technique for the left hand.

Skill Level
Beginner
Intermediate

The aim of the three Solo Now! books is to provide the elementary guitarist with a progressive and stimulating collection of pieces that specifically develop one of the most fundamental guitar techniques – that in which the right hand thumb and fingers combine to play mainly broken chord configurations using the tirando stroke.

The main principles behind the EGTA series of didactic music are establishing a good, balanced technique while not putting excessive demands on the hands of young players. Much of the 19th century teaching repertoire is focussed on developing the right hand but in doing so does make life difficult for the left hand! In these Solo Now books, the brief for composers was to concentrate on the right hand while keeping the left hand relatively simple.

Volume 1 concentrates on establishing the sense of “placement” of pima over a set of strings and maintaining a relaxed hand shape while playing across the strings. The left hand is mostly limited to placing one finger at a time, and keeps to 1st position.

In volume 2 the right hand is developed to include playing consecutive notes on a single string as well as more difficult arpeggio figurations. The left hand now has more double stopping and extensive use of 2nd and 3rd positions.

Volume 3 has a lot more left hand work including barre and slurring techniques, and movement over the first 5 positions. The right hand has more varied combinations of fingers, as you would find in most pieces, the culmination of the balanced and relaxed hand technique developed in the previous volumes.

When the aims of the books are laid out like this, it sounds like the pieces are going to be very dreary and technical but that is certainly not the case here. Nor are they very contemporary and difficult to interpret! In addition to the technical ideals, musicianship is the key.

There are lots of stories, feelings and pictures in the music with inspiring titles like “Chatterbox”, “Cowboy in the Saddle” and “Aquarium”. In fact, in looking through these books I have come to realise how important a title can be in giving us ideas and feelings to communicate in our playing.

There is extensive use of phrase lines throughout the series, wide ranging dynamics, articulation and musical indications that get progressively more detailed. There are excellent melodies, especially in the bass, and interesting rhythms that are contemporary but easily accessible through the titles.

In volume 1 “Toy Soldiers” starts the series with an excellent marching bass line maintained throughout; the “Stone Circle” requires thought and a picture to capture the majesty and “Three Ghosts” is marked “dark distant and cold”- a real challenge for the player! “Going for a Spin” at the beginning of volume 2 has a lovely, lilting quaver movement with the melody singing from the arpeggios; in “Ducks and Swans” you can really hear the difference between the graceful swans and quacking ducks – great fun! If you close your eyes at the beginning of “Circles in the Water” you can see the widening ripples and “Whirligig” makes you want to dance with a strong pulse and uplifting melody.

The pieces in volume 3 are a lot busier and more challenging but still continuing the original right hand arpeggio ideas within pieces with 2 and sometimes 3 voices. “Wishing Well” has a beautiful, relaxed melody with some scrunchy harmonies and in “Aquarium” you can follow the fish swimming over the arpeggio accompaniment! “Carillon” is a great finale to the series with a joyful stream of semiquavers forming arpeggios and melodies, syncopated bass notes and exciting harmonies.

These are just a few examples from a wide range of pieces in this series that are written with very important technical considerations in mind but also manage to inspire listening and musical invention, and are great fun to play! Ideal early repertoire.

Selina.

76

Solo Now Volume 1

Chanterelle

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Volume One of the Solo Now! series contains twenty-five original progressive guitar solos for the beginning classical guitarist. Part of the EGTA Series, Solo Now! focuses on development of a stable yet relaxed right hand position while nurturing correct technique for the left hand.

Skill Level
Beginner

The aim of the three Solo Now! books is to provide the elementary guitarist with a progressive and stimulating collection of pieces that specifically develop one of the most fundamental guitar techniques – that in which the right hand thumb and fingers combine to play mainly broken chord configurations using the tirando stroke.

The main principles behind the EGTA series of didactic music are establishing a good, balanced technique while not putting excessive demands on the hands of young players. Much of the 19th century teaching repertoire is focussed on developing the right hand but in doing so does make life difficult for the left hand! In these Solo Now books, the brief for composers was to concentrate on the right hand while keeping the left hand relatively simple.

Volume 1 concentrates on establishing the sense of “placement” of pima over a set of strings and maintaining a relaxed hand shape while playing across the strings. The left hand is mostly limited to placing one finger at a time, and keeps to 1st position.

In volume 2 the right hand is developed to include playing consecutive notes on a single string as well as more difficult arpeggio figurations. The left hand now has more double stopping and extensive use of 2nd and 3rd positions.

Volume 3 has a lot more left hand work including barre and slurring techniques, and movement over the first 5 positions. The right hand has more varied combinations of fingers, as you would find in most pieces, the culmination of the balanced and relaxed hand technique developed in the previous volumes.

When the aims of the books are laid out like this, it sounds like the pieces are going to be very dreary and technical but that is certainly not the case here. Nor are they very contemporary and difficult to interpret! In addition to the technical ideals, musicianship is the key.

There are lots of stories, feelings and pictures in the music with inspiring titles like “Chatterbox”, “Cowboy in the Saddle” and “Aquarium”. In fact, in looking through these books I have come to realise how important a title can be in giving us ideas and feelings to communicate in our playing.

There is extensive use of phrase lines throughout the series, wide ranging dynamics, articulation and musical indications that get progressively more detailed. There are excellent melodies, especially in the bass, and interesting rhythms that are contemporary but easily accessible through the titles.

In volume 1 “Toy Soldiers” starts the series with an excellent marching bass line maintained throughout; the “Stone Circle” requires thought and a picture to capture the majesty and “Three Ghosts” is marked “dark distant and cold”- a real challenge for the player! “Going for a Spin” at the beginning of volume 2 has a lovely, lilting quaver movement with the melody singing from the arpeggios; in “Ducks and Swans” you can really hear the difference between the graceful swans and quacking ducks – great fun! If you close your eyes at the beginning of “Circles in the Water” you can see the widening ripples and “Whirligig” makes you want to dance with a strong pulse and uplifting melody.

The pieces in volume 3 are a lot busier and more challenging but still continuing the original right hand arpeggio ideas within pieces with 2 and sometimes 3 voices. “Wishing Well” has a beautiful, relaxed melody with some scrunchy harmonies and in “Aquarium” you can follow the fish swimming over the arpeggio accompaniment! “Carillon” is a great finale to the series with a joyful stream of semiquavers forming arpeggios and melodies, syncopated bass notes and exciting harmonies.

These are just a few examples from a wide range of pieces in this series that are written with very important technical considerations in mind but also manage to inspire listening and musical invention, and are great fun to play! Ideal early repertoire.

Selina.

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