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

musdowlandair

Air and Galliard

John Dowland

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Transcribed from the lute tablature and arranged for guitar by Karl Scheit.

Skill Level
Intermediate
mustakemitsutwilight

All In Twilight

Toru Takemitsu

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These Four pieces for guitar were commissioned by Julian Bream and dedicated to him. The first performance was given by Bream on October 9th 1988 in New York. The duration of this work is 11 minutes.

Skill Level
Advanced
musdowlandanthology

Anthology of Selected Pieces

John Dowland

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John Dowland was one of the last in a line of English Renaissance lute virtuosos. The suggested fingering in this edition assumes the third string of the guitar is lowered to F sharp, thus reproducing the pitch spacing of the Renaissance lute. Beautiful music from a beautiful period.

Skill Level
Intermediate
Advanced
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.

mussanzanthology

Anthology of Selected Works

Gaspar Sanz

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The pieces in this anthology are selected from Sanz's treatise for the five-course guitar. The various tunings used during the history of the Baroque guitar were quite different from that of today's instrument. In this edition Raymond Burley has tried to remain as faithful to Sanz's original tablature as its transcription for modern guitar will allow.

Skill Level
Intermediate
100

Aquarelle

Sergio Assad

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

Skill Level
Advanced
mustrinityaural1

Aural Book 1

Trinity College London

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This Aural book is designed to be used effectively either by teachers during lessons or by candidates at home. As teachers will generally wish to supply their own explanations of the questions, the text is addressed to the candidate. Contains all the information you will need plus sample tests and answers and 2 CD's of practice examples.

Skill Level
Beginner
Intermediate
mustrinityaural2

Aural Book 2

Trinity College London

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This Aural book is designed to be used effectively either by teachers during lessons or by candidates at home. As teachers will generally wish to supply their own explanations of the questions, the text is addressed to the candidate. Contains all the information you will need plus sample tests and answers and 2 CD's of practice examples.

Skill Level
Intermediate
Advanced
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286

Aural Training In Practice 2011 Grades 1-3

ABRSM

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Aural Training in Practice offers valuable support to teachers preparing students for ABRSM Practical exams. The three volumes, covering Grades 1-3, 4 & 5 and 6-8, provide information on what each test involves and what the examiner is looking for teaching hints and strategies, including warm-up material and ideas for integrating aural into lessons. Practice exercises to prepare students for the exam. CD recordings of all practice exercises, and examples in two or more parts, presented by an ABRSM examiner. Answers, both recorded and printed where appropriate, as a guide to the sort of responses that would be successful in the exam.

Skill Level
Beginner
Intermediate
287

Aural Training in Practice 2011 Grades 4 & 5

ABRSM

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Aural Training in Practice offers valuable support to teachers preparing students for ABRSM Practical exams. The three volumes, covering Grades 1-3, 4 & 5 and 6-8, provide information on what each test involves and what the examiner is looking for teaching hints and strategies, including warm-up material and ideas for integrating aural into lessons. Practice exercises to prepare students for the exam. CD recordings of all practice exercises, and examples in two or more parts, presented by an ABRSM examiner. Answers, both recorded and printed where appropriate, as a guide to the sort of responses that would be successful in the exam.

Skill Level
Intermediate
291

Aural Training In Practice 2012 Grades 6-8

ABRSM

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Aural Training in Practice offers valuable support to teachers preparing students for ABRSM Practical exams. The three volumes, covering Grades 1-3, 4 & 5 and 6-8, provide information on what each test involves and what the examiner is looking for teaching hints and strategies, including warm-up material and ideas for integrating aural into lessons. Practice exercises to prepare students for the exam. CD recordings of all practice exercises, and examples in two or more parts, presented by an ABRSM examiner. Answers, both recorded and printed where appropriate, as a guide to the sort of responses that would be successful in the exam.

Skill Level
Intermediate
Advanced
musabauralbook1

Aural Training In Practice Book 1

ABRSM

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Aural Training In Practice Book 1 provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical examinations. covering grades 1-3. A CD of all exercises covering grades 1-3 is also available. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Beginner
musabauralbook2

Aural Training In Practice Book 2

ABRSM

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Aural Training In Practice Book 2 provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical examinations. covering grades 4-5. A CD of all exercises covering grades 4-5 is also available. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Beginner
Intermediate
musabauralcd1

Aural Training In Practice CD Grades 1 to 3

ABRSM

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Old Syllabus - for practice only. Aural Training In Practice provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical exams. These CDs accompany the Aural Training workbooks. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Beginner
musabauralcd2

Aural Training In Practice CD Grades 4 to 5

ABRSM

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Old Syllabus - for practice only. Aural Training In Practice provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical exams. These CDs accompany the Aural Training workbooks. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Intermediate
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musabauralcd3

Aural Training In Practice CD Grades 6 to 8

ABRSM

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Old Syllabus - for practice only. Aural Training In Practice provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical exams. These CDs accompany the Aural Training workbooks. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Intermediate
Advanced
musbachcello

Bach Cello Suites 1 to 4

J. S. Bach

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For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here, for the first time, are the first four in the easiest and most resonant guitar keys. Suites I–IV must be transposed to work on the guitar, whereas Suite V is always played in A minor, in Bach’s own lute version, and the equally demanding Suite VI can only be played in its original key of D. By adding as little as possible, these arrangements preserve the integrity of the originals.

Skill Level
Intermediate
Advanced

This edition is very well researched, laid out with clear printing and plenty of examples and explanation. It gives guitarists of all standards and musical knowledge an opportunity to explore this fantastic music. As Richard points out in his introduction the guitar repertoire already has ‘difficult’Bach in abundance, whereas these 4 suites are altogether more approachable.

Before the music starts there are 4 pages of notes which are clearly laid out in sections; Keys, Realising the notation, Added notes and other changes to the text, Ornaments and Acknowledgments. This is by no means a daunting read (and must be read!!) covering his reasons for changing keys, his choice of fingering and added harmonies and help in interpreting the hidden counterpoint in Bach’s single line melody. Although some of the language is quite academic it is not difficult to gather the overall meaning and points about literal length of notes for example really do help in your interpretation.

Richard has chosen to, for the most part, stick with the cello’s single line melody, clearly stating his reasons why There have been many arrangements of this music with guitarists keen to add harmony to exploit the abilities and richness of the guitar, perhaps most famously John Duarte’s arrangement of the first cello suite. The main problem with adding too much to the original is that you end up taking a lot away, the extra notes often impeding the natural flow of the music. This is music that speaks for itself and through simply playing the original notes you start to hear the shape of the phrases and implied voices, with the musical qualities of the guitar enhancing them further. In its original form, as printed here, we learn much more about playing musically rather than working out fingers and chords all of the time!

Any notes that have been added or changed (in octave for example) are written in small print and there are examples in footnotes to help with interpretation of ornaments and ideas on embellishing the music stylistically.

The edition is by no means over fingered and allows plenty of space for changes and adding your own fingering. Sometimes it is necessary for an arranger to add fingering when they feel that the music has to be played in a certain way to communicate the composer’s original intentions. My only question here is that the method of fingering is a little inconsistent and requires stopping to think. For example in places a note will be marked with a string number that indicates a different position but is not immediately obvious. There is quite a bit of right hand fingering which is fair enough as long as the player realizes that they are simply suggestions and should not hold up your musical line. This last point is key; the only important thing is the music. If you find it difficult because you are trying to impose a fingering that does not fit for you then you are losing out! (Having said that one finger repeated throughout is not good enough technically and will also not bring the musical line out fluently!)

This edition does give very clear explanations of the reasons for using certain fingerings and in doing that immediately offers the player choice – excellent!

As for the music - it is wonderful, offering excellent melodic, listening and phrasing work for the guitarist. It may feel strange at first playing mainly single lines but you will find yourself listening so much more and eventually really enjoying the freedom of movement and expression that this music gives. I particularly enjoyed Suite IV, which is majestic and full of wonderful twists and turns, rhythms and beautiful lines. I was unfamiliar with the music but am now inspired to explore it further – what more evidence do you need of a good edition!

To sum up, whether you want to try playing Bach’s music for the first time or are experienced and looking for something new, this edition would be an excellent and very worthwhile addition to your library.

Selina.

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bach-chaconne

Bach Chaconne BMV 1004

J. S. Bach

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

Skill Level
Intermediate
Advanced
bach-french-suite-no1

Bach French Suite No.1

J. S. Bach

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

Skill Level
Intermediate
Ensemble
bach-inventions-1-7

Bach Inventions Vol 1 1-7

J. S. Bach

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BMV 772 - Written for 2 guitars. Transcribed by Mario Martino & Andrea Schiavina. As with all UT Orpheus publications this edition is very clearly and cleanly printed which really helps when sight reading ensemble pieces. Music written by Bach, what more can I say, if you have an interest in playing ensemble which in my opinion you should at least try, then these Inventions are fun and challenging.

Skill Level
Intermediate
Ensemble
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