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

87

Simply Spanish

Vincent Lindsey-Clark

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Simply Spanish has established itself as an indispensable part of the early student repertoire. The six pieces in the album are miniature classics, each uncannily evoking the Spanish sound in all its rich colours and rhythms.

Skill Level
Beginner

The sub title of "six evocative pieces" is spot on!

These pieces are Spanish in essence, bringing out the colours and rhythms of Spain through writing that is very accessible.

Clarke manages to introduce techniques and styles of playing that are probably new to the student at this stage while at the same time always encouraging a musical approach.

On playing these pieces, a student of any age will feel that they have arrived and are able to play "proper" pieces of music!

Fandango. Includes a fast rhythmic motif with a flamenco feel throughout combined with single line melodies and a bass melody under a simple repeated chord accompaniment.

Oloroso and Vals Navarra. Slow and contemplative, allowing plenty of dynamic and tonal control.

Tango. Maintains a lovely tango rhythm as accompaniment to the melody - a challenging and effective guitar technique introduced here in a way that is easy to see and understand.

Zincarlo.Requires a lively 6/8 rhythm, picking out a bass melody, and some quick thinking!

Pamplona.Introduces a combination of 3/4 and 6/8 rhythm along with strumming with the "i" finger

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.

85

The Young Guitarists Progress Part 2 GM7

David Burden

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This collection of guitar pieces takes the beginning guitar student from reading music to playing pieces of approximately Grade Two standard. It leaves the teaching of technique, hand positions, and other fundamentals to the teacher but provides material for all aspects of the very early stages of learning the guitar.

Skill Level
Beginner
84

The Baroque Book

Chanterelle

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The Baroque Book for guitar is a treasury of carefully selected pieces from the greatest composers of the 17th and 18th centuries. The music of the baroque era has always been a popular and important part of the guitar repertoire. A thorough understanding of the style, forms and rhythmic and harmonic conventions of the period are an essential part of the guitarist’s training. The Baroque Book introduces today’s guitarist to baroque music in a way that is both technically cumulative and musically comprehensive. Comprising arrangements of all the standard dance movements and other characteristic forms from across Europe, it is a critical part of any progressing classical guitarist’s repertoire.

Skill Level
Beginner
Intermediate
83

Simply Guitar Book 2

Vincent Lindsey-Clark

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Simply Guitar introduces the basic skills of the Spanish guitar through the music of Vincent Lindsey-Clark and Alexander MacDonald. Book 2 introduces higher positions on the fingerboard, articulation techniques, tonal effects and interpretational skills. These are the skills that will turn you into a real musician.

Skill Level
Beginner
Intermediate
82

The Guitarists Progress Book 2

David Burden

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This collection of guitar pieces brings the guitar student from approximately Grade Two through Grade Four standard. It leaves the teaching of technique, hand positions, and other fundamentals to the teacher but provides material for work on specific techniques such as barres. The notes in the higher positions are gradually introduced and musical notation is explained with helpful hints.

Skill Level
Beginner
Intermediate
81

Simply Swing

Vincent Lindsey-Clark

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Bringing alive the Jazz era with five stylish pieces capturing the atmosphere of the 1940's. They are easy to play and they will be enjoyed by the most sophisticated jazz connoisseur.

Skill Level
Beginner

These pieces capture the 1940s jazz style beautifully and are great fun to play, from the straightforward 2-part Ragatelle, to the more technically and musically complex Icy Blue.

As a player it is easy to get into the "atmosphere" of the music with fantastic harmonies and off beat rhythms that are not difficult to understand or execute, but are really effective when played fluently.

This is particularly noticeable in Mississippi Ditty with his use of ties, slurs and accents.

The off beat rhythms and "swing" are easy to get into at the beginning of the book as there is a constant crotchet pulse maintained in the bass which helps to drive and shape the music.

In Steely Blue, the bass line comes and goes, highlighting the "solo" melodic passages, which include very effective use of "glissando".

There are detailed dynamic indications throughout the book that really add to the experience as they initially teach you the style through shaping the music. You can then enjoy playing and bring your own interpretation to the pieces.

Icy Blue provides a contrast in the book because it uses constant quavers that produce a driving, exciting feel to the music and require some quick thinking!

My favourite piece from the collection has to be Swing Swang Lane. I love the slow and thoughtful atmosphere of this piece with its moving harmonies, relaxed swing and simple, flowing melody.

Selina.

80

Diversions

Peter Nuttall and John Whitworth

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An exciting collection of eleven guitar pieces that cover a wide range of popular styles; from folk to blues, Elizabethan music to Jazz and Classical. The mixture of arrangements and original compositions will ensure that this selection has something to offer players of all ages.

Skill Level
Beginner

This is a wonderfully varied little book.

For Diversions, Peter Nuttall and John Whitworth have written music within 5 different styles – Folk, Jazz, Elizabethan, Classical and Blues. The result is 11 pieces each with their own technical and musical challenges. This book is great for building repertoire; in their introduction Nuttall and Whitworth say that their aim is to ‘provide the intermediate guitarist with a repertoire of pieces covering a wide range of popular musical styles’, and many of the pieces introduce the player to different techniques that are used across the board in classical guitar music.

Nuttall and Whitworth have written an ‘introduction’ to each piece, in which they point out the prevalent musical characteristics, give advice on counting or ‘feel’, and provide some interesting context. From the off the player is introduced to swing rhythms and slides in ‘Inside Blues’, techniques that will pop up again later in the book. With the slides and accidentals, Inside Blues has a very fluid, gritty feel that will get any player into the groove! It is followed by a more mellow piece called ‘Celebration’, in which a lingering top line melody is supported by flowing right hand patterns. The melody switches to the bass halfway through the piece, so we get the chance to use the thumb to bring that out. ‘The Helston Floral Dance’ and ‘The Rakes of Mallow’ work well both separately and as a pair, and are both arrangements of traditional tunes that contain more technical semiquaver runs.

My favourite tunes in this book have to be in the Jazz Suite, a collection of three pieces designed to test the player’s musicality. The pieces all contain a certain amount of space and are open to a little more interpretation, from the improvisatory feel of ‘Lazy Afternoon’ to the syncopation and catchy melody of ‘Stomp’, finishing with ‘Night Piece’ with it’s irresistible energy and walking bass line.

There is so much scope in this book to develop ones musicality; each piece has its own character and is fun to play in its own way. What Nuttall and Whitworth have produced is music that is appealing to listen to and play, but also can help to improve ones technique.

Jess.

79

Moving On

Peter Nuttall

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For students of all ages who enjoy melodic pieces in popular styles. The technical demands remain modest, and the idiomatic nature of the compositions makes them rewarding to both player and listener.

Skill Level
Beginner

I really like this little collection of pieces as they highlight development of musicality and emotion in your playing.

Realistically the level here is grades (or years playing) 2 to 3. Although the pieces are not complicated there are more notes to read on the page, more ‘involved’ rhythms and much more musical input required. Several of the pieces use a bass melody, fantastic for improving reading of these often neglected but very important notes!

In The Wheatfields the accompanying 3 note chords look difficult but are all using i m a for mostly open strings or with one fingered note. This provides a very full accompaniment for the beautiful bass melody with lots of musical instruction to keep you on your toes.

In contrast On The Prairie has a treble single line melody with arpeggio filling, with the evocative title clear ideas on how to interpret the bright and flowing music.

The Old Lute is a simple piece in two voices reflecting a Renaissance style with a modern twist and To Mexico has a mixture of arpeggio chords and melody, syncopated rhythm, D and A chord shapes and loads of character!

There are three good blues pieces written in 12/8 time to give the swing feel with some very effective syncopated rhythms, teaching a lot about chords and about feeling the pulse and movement in the music. The final Danza has quite a medieval feel to the harmony, with the melody swapping between treble and bass registers and a lovely gentle flow throughout.

All in all a very enjoyable set of pieces with lots of potential for technical ad musical development as well performance opportunity!

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.

75

First Guitar Pieces

Gerald Garcia and John Whitworth

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

Skill Level
Beginner
Out Of Stock Enquire
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.

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.

108

Eight Sonatas

Domenico Scarlatti

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Of the more than 500 sonatas (originally termed esercizi) written for harpsichord by Domenico Scarlatti, Raymond Burley has chosen to arrange eight for guitar. These include K. 480, K. 379, K. 208, K. 232, K. 491, K. 94, as well as K. 376 and K. 377, which Scarlatti's cataloger, Ralph Kirkpatrick, suggests should be performed together. Burley has done a terrific job of fitting these pieces to the fretboard.

Skill Level
Advanced
107

Guerau Five Pieces

Francisco Guerau

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Five dances selected from Guerau's Poema Harmonico. If the themes have a familiar ring it is because they were in general use and were often built on traditional groungs rather like as this century has made use of the 12-bar blues sequence. Guerau treats his themes with much greater freedom and resource than Sanz.

Skill Level
Advanced
106

Berkeley Quatre Pieces

Lennox Berkeley

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Composed and dedicated to the great Spanish exponent Segovia. This beautifully balanced set of four pieces adds significantly to the guitars repertoirs.

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
104

24 Studies Op. 48

Mauro Giuliani

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Guitar Solo. By Mauro Giuliani. Arranged by Hans Ritter. This edition: GA32. Covers 27 pages and is published by Schott Music.

Skill Level
Advanced
103

Collected Works for Solo Guitar

H. Villa-Lobos

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

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

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

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

Selina.

102

Hommage a Tarrega

Turina

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This piece is from the repertoire that brought a lot of people of my generation to the guitar, and still does due to its rich, evocative musical language. It is part of the huge contribution that Andres Segovia made to our repertoire by inspiring and encouraging new composers to write guitar music, without which I am sure we would not be where we are today. The edition covers 7 pages. Published by Schott Music.

Skill Level
Advanced

This piece is from the repertoire that brought a lot of people of my generation to the guitar, and still does due to its rich, evocative musical language.

It is part of the huge contribution that Andres Segovia made to our repertoire by inspiring and encouraging new composers to write guitar music, without which I am sure we would not be where we are today.

The key is the way that Turina uses the characteristics of the guitar to create the emotion, depth and colour in the music. The piece is very much written for the guitar with a fantastic and varied texture created using ponticello, tasto, rasgueado, subito dynamics and loads of musical instruction on the score.

The music also uses the natural tone colours of the guitar, for example the full and mellow sound high up on the inner strings, and accuracy in right hand articulation is important.

The two movements are based on flamenco dance forms, which are distinguished by, among other things, their rhythmic patterns.

Garrotin has an exciting opening and driving rhythm. There is a lot of variety with melodic motifs tying the movement together, lots of slurring, rasgueado and golpe.

The singing melodies contrast with driving repeated notes, rhythmical chords and flowing scales. Soleares is more flamenco in style in its distinctive rhythm, rolling arpeggio patterns, sequences of scales and triplets. Slurring is very important for free movement as well as texture and rhythm, and much of the fingering is for colour.

Overall this piece reflects the flamenco tradition while remaining classical in style. It is a true guitar piece using the guitars attributes to the full and it is very exciting piece – an important part of the repertoire.

Selina.

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