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.

Results 121 - 144 of 289

Sheet Music Database

mustimescapes

Timescapes

John Whitworth

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Nine compositions aiming to broaden the repertoire of the intermediate guitarist. The most fun I have had in ages, if you are searching for music to challenge the player and give pleasure to the audience this is definately for you.

Skill Level
Intermediate

I first started to play these pieces a week ago and I am already completely hooked!

They are beautifully simple in concept and very aptly named. John seems to have a knack of putting across expressive ideas in relatively few notes, and not asking the guitarist to perform acrobatics, ensuring that you can enjoy the music!

I was immediately attracted to the high levels of interpretation and musicianship being asked for. All the pieces work at many levels; if you are working up to this technical level the pieces will sound good without too much control of sound and dynamics, but if you are more advanced you can still get loads of enjoyment from the music by challenging yourself on matters of colour and shape.

The amount of instruction in the book is excellent. Each piece has a description that varies from the origin of, or inspiration for the piece, to technical instruction and musical goals.

The introduction on the title page briefly explains the history of the pieces and ideas for performance; for example as a continuous suite, individually or in smaller suites created by grouping three or four pieces together.

These are great ideas for students embarking on their first performances, and for more experienced players developing their musicianship.

The phrasing, dynamic and articulation markings are very detailed throughout giving you plenty to work with that will help you to bring out the shape and character of each piece.

The first section of First Light is made up of long legato chords asking for lots of dynamic control and it finishes with a simple but beautiful quaver melody.

Road to the Hills and The Traveller are more lively and rhythmical while Edge of Storm uses low dissonances and a throbbing bass line for dramatic effect.

Serenade pays homage to Erik Satie's famous Gymnopedie No 1 for piano and Walton's 2nd Bagatelle for guitar asking for a legato melody line with accompaniment very much in the background.

The rhythm in Milonga is easy to highlight and great fun to play.

Introduction and Tango is very cleverly written with two simple voices that fit together and bring out the spirit of the dance perfectly.

Late Night contrasts a slow, broody introduction (great melody), with a lively swing rhythm and the collection is brought to a close by the haunting Beneath the Stars where the bass melody is backed by a fast but gentle open string arpeggio, finishing with the melody from First Light in harmonics, dying away.

The most important aspect of this collection for me, and, for that matter, of being a guitarist, is summed up by John at the end of his introduction;

"I hope you enjoy playing these pieces and bringing them to life…"

Selina.

290

City Scenes

Gary Ryan

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Three original compositions Rush, Metropolis & Birds Flew Over The Spire. These works are challenging and very musical with The Birds Flew Over The Spire being one of the most popular pieces enjoyed by our own students and others who hear it played. If you are looking for new pieces to play and enjoy, City Scenes is a must have item.

Skill Level
Intermediate
Advanced

We came across this book through the Trinity grade 5 syllabus which includes the third piece Birds Flew over the Spire. If you read my guitar reviews you will recognize this as one of my firm favourites because it is a beautiful little piece of music, using the guitar so well and highlighting what the classical guitar is best at. The pieces in this book are very contrasting and fit beautifully within the title City Scenes.

Rush was originally conceived as a study for the right hand thumb and is full of energy, with the 5/4 time signature constantly pushing the music forward, a strong bass melody and lots of syncopation and articulation. It is great to see how adding a title and ‘story’ to a study can transform it into an exciting, descriptive piece of music.

Metropolis is a long piece with a difficult rhythm that looks very complex on the page but is fine once you get into the swing of it, as long as you work it out properly with counting first! The way that Gary uses material gives a real bustle to the music with gradually evolving patterns and harmonies and repeated sections bringing in subtle changes of mood.

In the preface Gary describes it as “the non-stop bustle of a musical city where influences combine from many different ages and musical cultures.” Birds flew over the Spire is a wonderful relaxation after this with lovely campanella harmonies accompanying a fluid melody that twists and turns gently depicting the birds floating on thermals and warm currents of air. It is great for fingerboard knowledge and left hand movement but, more importantly for listening ad enjoying the musical phrasing.

The preface by the composer is very good and the music is well laid out with clear fingering (not too much) and musical instructions.

This is definitely music to have fun with!

Selina.

133

Three Sonatas

Anton Diabelli

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These pieces were a lovely surprise for me offering more detail and interest than I had expected and really bringing the shapes, texture and style of the Classical period to the guitar. Guitar Solo. By Anton Diabelli. Arranged by Anton Stingl. This edition 36 pages. Published by Schott Music.

Skill Level
Intermediate
Advanced

These pieces were a lovely surprise for me offering more detail and interest than I had expected and really bringing the shapes, texture and style of the Classical period to the guitar.

Simply put, the music is full of life, spirit, movement, drama and fun! It fits beautifully under the fingers but also challenges the player with detailed articulation and dynamics, as well as polyphonic writing that requires the guitarist to balance melodies in different voices rather than the simpler melody accompaniment style.

Sonata no.1 in C has a strong clear opening with great direction in the melody. As I mentioned before articulation and dynamic markings are very specific, for example the distinction between a staccato dot and a tenuto or emphasis line, and chromatic movement in thirds really pushes the music along. The middle, minor section uses double octaves to create drama and volume, contrasting with pianissimo thirds and creating an orchestral feel and texture.

The second movement has a delicate and refined character using wide intervals, articulation and silences to great effect. In the Menuet and Trio (grade 6) I particularly like the simple rising melodic motif punctuated with staccato chords and the brilliant ‘leaning’ notes across the bar lines creating lots of interest but quite simple to play. The final Rondo bubbles along in semiquavers with lots of contrast in articulation and rhythm, a great minor section employing restless syncopated chords and a truly orchestral ending.

Sonata no.2 in A is more detailed and complex. The Allegro risoluto has a powerful opening using dotted rhythms and big chords. The dotted passages feature through the movement with lots of contrast, movement between voices and great use of rests and space in the music. The Adagio is based on pianissimo chords and arpeggio decorations, requiring a sense of poise I think and lots of listening to shape the music through the harmony.

The Menuet and Trio (grade 8) is packed full of character and humour from the pompous opening bass to the bell ringing campanella effect, dramatic octaves and chromatic thirds. The final Rondo has a very charming, simple and delicate melody, rising smoothly then falling punctuated by rests. There is so much story telling going on in this music and there is always something to do! In many ways it is just like lots of people talking, different subjects coming up, surprises and colours of voices. This last movement is quite complex to look at but will give you hours of fun playing and listening to the musical theatre.

Sonata no.3 in F is again very strong and dramatic at the opening and moves on with lots of contrast in the rhythms moving quickly between semiquavers and triplet quavers, syncopated chords and, again excellent articulation and punctuation. I particularly liked the little demisemiquaver birdsong motif! Overall the music is very free flowing with octave and interval passages and plenty of detail in the voicing. The Andante (grade 7) is quite simple compared to some of the other movements, concentrating instead on highlighting a beautiful, singing melody along with some lovely scrunchy harmonies.

The Finale has a slow introduction with melodic motifs punctuated a ‘da da’! in octaves that is the brass section building up the tension for the main event! The Presto section is fast and lively with contrasting textures provided by chords, flowing intervals, single lines using staccato and slurred passages. The music looks more straightforward but the speed is very quick! The minor section has two voices competing with each other – great fun! - and the final Prestissimo cadence over 16 bars is made more exciting by the preceding, dramatic Adagio.

This is lovely music that teaches us about theatre, excitement, colour and texture in music, as well as giving enjoyment and helping to develop technique.

What more could you ask for!

Selina.

carulli-duo-op62-no1

Carulli Duo op. 62 no 1

Ferdinando Carulli

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CH 81 - Written for 2 guitars - Carulli, one of the most prolific composers of his century with at least 400 pieces to his name. A pioneer in his field he popularised the classical guitar in Paris where many guitarists came to study under him. This edition, for two guitars, is clearly printed with both score and parts. Fingering is absent which is great as this allows freedom for ones own interpretation.

Skill Level
Intermediate
Ensemble
  • Containing
  • Moderato
  • Romance - Largo
  • Minuetto - Allegro
  • Polonaise - Con poco moto
mustansmandanza

Danza Pomposa

Alexandre Tansman

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101

Dyens Mambo des Nuances

Roland Dyens

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Skill Level
Advanced
194

En La Playa

Isaac Albeniz

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Garden Music edition - Arranged for guitar by David Burden. En La Playa (on the beach) is the seventh and last piece from Recuerdos de Viaje (Souvenirs of Travel) Op71 written in 1887. This is one of Albeniz's most beautifully lyrical pieces and, like so much of his music, is guitaristic in its character and invention.

Skill Level
Advanced
33

Guitar Exam Pieces CD Grade 8

ABRSM

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Recordings of pieces from the new ABRSM Guitar Syllabus, from 2009. Innovative and valuable resource for candidates preparing for ABRSM exams. All duos are accompanied by another guitar, and playalong tracks for these pieces are also included.

Skill Level
Advanced
310

Trinity Guitar 2016-2019 - Guitar Grade 4

Trinity College London

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Containing pieces required for the Trinity Guitar exam. Three pieces to be performed from those listed in this book, at least one from each group, or from the duets or alternative pieces listed for this grade, to form a balanced program. This is an excellent book even if you have no intention of taking the exams.

Skill Level
Intermediate
musgw4

The Guitarists Way Book 4

Peter Nuttall and John Whitworth

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In Book 4 we introduce new and interesting rhythms, continue to develop left and right hand technique, and explore a wider range of keys and musical styles. There is also opportunity for more expressive playing in some of the higher positions. The range of musical styles can be extended further in the follow-up books Diversions and Twelve Inventions.

Skill Level
Beginner
327

8 Compositions for Guitar Solo

Alonso Mudarra

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Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.

Skill Level
Intermediate
Advanced
musgiulianimetodo

Metodo Per Chitarra op.1

Mauro Giuliani

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These studies are a result of my labours ascertained by experience and practice; I dare present them to the public in an intimate persuasion that whoever wishes seriously to try them, will be able to play expressively all that was composed in a more correct style for this instrument. M. Giuliani

Skill Level
Intermediate
Advanced

You may be initially put off when looking at the first few pages of this book with it’s pages of seemingly monotonous exercises, however if you have the patience, and hopefully help, to delve deeper the book is a fantastic resource for technique, reading skills, knowledge of the fingerboard and musicianship. There is a short biography at the beginning followed by the ‘Author’s preface to the first edition of the method”. This is brilliant, revealing Giuliani as simply a passionate guitarist!

“My favourite occupation was always the study of the guitar, and I aspired with all my powers to attain the highest perfection in the knowledge of this instrument.”

The book is in four parts and each can be used on many different levels; use of all the right hand fingers and combinations, balance, strength, speed, relaxation and movement to give a few examples.

These are basics of technique that are essential for strengthening technique and enjoying your playing.

PART ONE contains 120 arpeggio exercises with varying combinations that work on all aspects of your right hand from simple “p i m” to combinations of fingers with thumb, chords and more involved patterns. The key here is focus when you are practicing and recognizing what you would like to achieve rather than just bashing through the lot while watching telly as fast as possible! Depending on your level of skill they can be used in different ways and they divide nicely into groups making the prospect less daunting. At the moment I use them for prepare and play, balance and independence. As you become more familiar with the exercises you quickly begin to see their relevance to the repertoire and importance to your technique.

PART TWO is for the left hand with studies in 3rds, 6ths, octaves and tenths in the keys of C, G, D and A major. As you can imagine this covers a lot of fingerboard and is fantastic for preparation, anticipation, fluid movement and relaxation. The intervals used are an integral part of the way the guitar works and the way composers write for it so, again, invaluable technical development. The studies also improve your reading and fingerboard knowledge enormously! People often ask me how to improve their sight reading, particularly in higher positions – this is a good way! These studies do require patience and focus. There is plenty of musical shape related to harmonic movement but this can be difficult to find at first depending on how well you know your fingerboard already. Take it slowly and break the piece up – 2 or 4 bars at a time is usually a good bet – until you start to relax and move more easily. The effort is certainly worth it improving movement, stretch, touch and feel, and working all of your fingers.

PART THREE is made up of little studies working on different aspects of music related to musical effect, for example sustained notes, stopping strings for rests, ornaments, staccato and slurs or ‘legato’. These are lovely little pieces and particularly good for slurs and ornaments since we do not get much focussed practice on these techniques. PART FOUR consists of 12 progressive lessons, obviously showing how all the technical work that you have been working on is relevant and important for giving you the necessary skills to play fluently and enjoy your music.

Using this book is not necessarily easy. You have to have the correct focus and concentration as you are practicing and have a goal in mind. However the benefits are great and even if you only manage a few minutes of ‘study’ at a time you will eventually see the benefits and begin to enjoy yourself!

Selina.

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121

Solo Now Volume 3

Chanterelle

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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 triando stroke. Volumes 1 and 2 take great care to try to minimize the demands made on the left hand so that the student can focus on the formations of a stable right hand technique.

Skill Level
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.

233

Circles End

Steve Marsh

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Eleven works altogether, eight of which were originally written as teaching pieces and three as concert items. Titles are: Mystery Waltz; The Rainbow; Song for a Gentle Maiden; Rush Hour; The Seagull; Carnival Time; Mountain Stream; When the Cats Waltz at Midnight; The Empty Attic; The Haunted Carousel; Circles End. Circle's End written in memory of the singer/songwriter, Harry Chapin and chosen by one critic as his 'Pick of the Year' piece in Classical Guitar magazine after it was included in their music supplement.

Skill Level
Intermediate

This is a lovely collection of pieces that bring out and highlight the very best that the guitar has to offer encouraging the musician within!

Steve Marsh is a guitarist and a teacher writing music on many different levels for guitarists from about a grade 3 standard, say 2 to 3 years playing experience. By this I mean that his pieces help us to develop our technique on the instrument as well as introducing new sounds and encouraging our communication skills and imagination.

In this collection the pieces are so interesting and full of character with lots of material for us to work with including simple melody and accompaniment, various arpeggio patterns with melody above, below or within, movement around the guitar, shifting rhythms, texture, movement and, most importantly, feel.

The Rainbow is simple in 2 and 3 voices with straightforward rhythm but is very uplifting. The harmonic movement and interest in this really carries the player along and this is true of all the pieces from the gentle rise and fall of flight in The Seagull to the bubbling arpeggio texture of the Mountain Stream and the macabre, spinning twists and turns of The Haunted Carousel.

A great sense of humour comes across in When the Cats Waltz at Midnight and the rhythm of Rush Hour reflects the title brilliantly.

The title piece Circles end is simply beautiful with lovely breadth and depth to the sound creating a big and emotional sound picture.

The key thing with this music is that it introduces an idea through the title that you can grasp quickly as you start to learn through the way the piece is written, and then allows you to let your imagination run free and encourages feeling and enjoyment.

Just what we need!

Selina.

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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.

4-venezuelan-pieces

Four Venezuelan Pieces

Rodrigo Riera

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

Skill Level
Intermediate;
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musduarteenglishsuite

English Suite

John Duarte

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This piece is obviously written for the guitar as it exploits all the best bits, but it certainly doesn’t give the performer an easy ride! An exciting addition to any advanced guitarist's repertoire. Duarte's English Suite contains three movements: 1) Prelude, 2) Folk Song and 3) Round Dance.

Skill Level
Advanced

This work is in three movements - Prelude, Folk Song and Round Dance, all of which are full of life and movement with a strong sense of the tradition upon which they are based.

The music in the Prelude is immediately bright, sunny and spirited and I was drawn to the full rich harmonies and varied texture. There is definitely a modal feel highlighting English folk influence in the music making it easy music to explore and develop. The melodies are expansive and ‘singing’ with plenty for the player to think about in shaping and shifting rhythms. I really like the slow, minor section with its interweaving lines making very evocative music.

The Folk Song is in two sections, firstly calm and expressive and then with a little more movement. There are some beautiful melancholy melodies combined with big harmonies, dotted rhythms and sweeping arpeggios requiring good left hand movement and freedom. The feel is full and almost majestic at times but always manages to maintain the ‘folk’ simplicity.

The Round Dance is lively and energetic with a contrasting lyrical section in the middle. There are plenty of changes in time signature with an overall 9/8 that really pushes the music along, with nothing being held back in physical movement for the performer.

This piece is obviously written for the guitar as it exploits all the best bits, but it certainly doesn’t give the performer an easy ride!

I think that it is great music for the imagination and for finding out about expression and especially texture in performance.

Selina.

guitaracademy2

Guitar Academy Book 2

Richard Corr

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This is a very well presented tutor covering many areas that others miss and providing clear explanations. Book 2 follows on nicely from book 1.

Skill Level
Beginner

This volume starts with a quick reference of notes, chords and accidentals followed by an introduction that takes the same format as in book one. It previews what there is to look forward to in book two, focussing particularly on free stroke and the importance of the improvisation and chord exercises in a students overall musical development.

There is an excellent introduction to free stroke describing where and why it is used, and the differences with rest stroke. There are pictures and written explanations on preparation for free stroke and correct and incorrect finger movements.

While many guitar teachers still disagree over the use of free and rest strokes in the early stages of learning (I start my pupils with free stroke) this book provides more information than is usual and so gives the pupil and teacher more choice. This introduction to free stroke is followed up by several exercises using chords in thirds and arpeggios helping the student to become familiar with the finger movements. The book then goes on to cover accidentals and key signatures, scales including the blues scale, ties, swing rhythm, dotted rhythms and 6/8 time signature.

Each new subject has clear written explanations, loads of pictures both amusing and technical, and plenty of exercises for practice. The section on playing fingers with thumb includes some very good open string exercises and even though it does move on to more difficult stretches, these are introduced in a way that makes them not seem so hard! The pieces at the end of the classical section are longer and more involved giving the student a real sense of progress and achievement. The chord supplement uses more involved strumming patterns, and introduces tablature.

297

Guitar Music from The Student Repertoire

John Mills

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A collection of sixty selected pieces, placed in graded sequence, offering a wealth of material for the student to study. In terms of musical and technical value all of these pieces are worthwhile for both personal pleasure and for public performance should you wish. Aguado, Carcassi, Dowland, Milan, Sor, Tarrega and more.

Skill Level
Beginner
Intermediate

This is a lovely collection of pieces, very well put together and thought out. It is a fantastic repertoire resource with pieces that are very enjoyable to play and listen too, while teaching you new techniques and ideas. As John Mills says in his forward, all sixty pieces also provide excellent performance material and can encourage students to play to others and widen their musical experience and knowledge.

There are 8 pages of study notes with information on style, structure, fingering, and techniques such as slurring and balance of voices in chords and counterpoint. These notes are helpful for students in understanding what they are working towards and to teachers for ideas, however in some cases there is a little too much detail.

For example the notes for no.20, Estudio no.1 by Tarrega start with “In this little right hand study the 4th, 7th, and 10th notes should be played using rest strokes.” The problem here is that there is no explanation - why should we use rest stroke? Obviously the intention is to highlight the notes, but this is not made clear.

My advice is to read the study notes as there is a lot of good information and advice included, and then use them to ask questions as you learn the music rather than just following ‘instructions’. We are all capable of listening to the music as we learn and deciding how we want to play it. Having so many pieces with so much variety in one book is great for developing these skills.

The difficulty is graduated through the book, starting with some lovely little pieces by Aguado, Giuliani, Carulli and Sor suitable for beginners of about 6 months to a years experience (depending on age, speed of learning, etc).

I would certainly recommend playing from the beginning even if you are at a higher level, there is much to be learnt from this music and it also provides great sight-reading practice!

There are many old favourites included in the collection; Giuliani’s Andante in C (Tales of the Riverbank), Estudio no.1 by Tarrega with the melody appearing from within the arpeggio texture, Carcassi’s gorgeous study in A (op.60, no.3), lots of Sor studies including the B minor op.35, no.22, and Adelita by Tarrega.

I loved coming back to the Milan Pavanes, lovely serene pieces with great depth and the particular challenge of playing long sustained notes and chords. I also really enjoyed the movements from de Visee’s D minor suite, an excellent introduction to the Baroque period and music that has stayed with me since I first playing it 35 years ago. A lot of these pieces are found in separate books and more obscure editions meaning that a lot of people do not get access due to availability and cost.

This book gives you the taster that can then lead you to explore further or simply enjoy the pieces you have. Particular favourites for me include a Passamezzo (Anon. no.29) with lovely voicing and harmony, Minuet by Diabelli (no.39) with exciting musical shaping and texture where you can be your own little orchestra, and most especially a fantastic little prelude by Tarrega.

My recommendation for this book is summed up by the fact that I am now going to learn this Prelude, and also return to look at Tarregas other preludes and studies (as well as the de Visee!)

A collection like this is so valuable in extending our experience of the Classical Guitar and its music, I hope that you enjoy it as much as I do!

Selina.

muslemayprogressivevol5

Repertoire Progressif Volume 5

Les Productions dOZ

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These six volumes of progressive repertoire for classic guitar provide pieces that will please apprentice guitarists at both beginner and more advanced levels. The repertoire was chosen by a large number of Quebec teachers who have been working for many years at all levels of classic guitar instruction. Their precious help has brought quality, diversity and originality to this collection.

Skill Level
Intermediate
giuliani-rossiniana

Giuliani Rossiniana OP.119

Mauro Giuliani

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Returning to Italy in 1819 after years of success Giuliani found himself forced to rebuild his career in a musical environment dominated by opera. It was in this context that the six Rossiniane were created. Constituting one of the highlights of Giuliani's production they also offer an insight into the the reception of Rossini's work by his contemporaries. If this is new work for you then Rossiniana No 1 is a good starting point.

Skill Level
Advanced
musscarlatt_4sonatasUE29149

Four Sonatas UE 29149

Domenico Scarlatti

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Skill Level
Intermediate
95

Five Pictures of Sark

Vincent Lindsey-Clark

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These five delightful pieces by Vincent Lindsey-Clark reflect the Channel Island of Sark. Maseline Harbour, Hvre Gosselin, Cycles in the Avenue, La Moinerie and Descent from La Coupee are expertly composed for solo guitar by this highly talented musician.

Skill Level
Intermediate

As with the "Simply" series, these pieces encourage experimentation, exploration and musicianship for all levels of ability.

Clarke somehow manages to make the guitar sound more expansive in scope than it is with the various ways that he writes melodies and, particularly, accompaniments. He achieves many different textures and moods, which are evocative and convincing, drawing real pictures of the scenery and life of Sark.

The music requires dynamic and tonal control and contrast, while the structure and harmony in the pieces introduces the player to a modern and "impressionistic" style.

We often talk about finding pictures to accompany your music and help you to communicate ideas - this music really helps and encourages you to do just that!

In Maseline Harbour the contrast in textures is fantastic, from the flowing arpeggios of the first section to a repeated chord accompaniment over a bass melody; this melody then expands into octaves bringing out wonderful dissonances and producing a big sound picture. The final section highlights a syncopated melody within the semiquavers that is a great exercise for the brain and finger independence. This creates an uneasy atmosphere before melting back into the opening arpeggios.

Havre Gosselin uses a simpler musical texture, mainly two voices, employing repeated notes in the melody to create long undulating phrases. This is a haunting piece; the dramatic centre section uses big jumps between first and seventh position to hold and release the tension in the music.

Cycles in the Avenue is the most cheerful of the pieces -the musical instruction is "scherzando"! The piece uses the whole fretboard and encourages a freedom of movement in the player. This is not easy as there is some challenging high position reading and quick moves. The contrasting middle section uses long slow chords with a "scrunchy" harmonic progression and voicing that requires one part to be staccato and the other legato.

La Moinerie is a beautiful, slow, expressive piece that requires good finger control to bring out the separate voices and fantastic harmonies. The phrases are long and flowing, excellent practice for the developing guitarist and the flow of the music is irresistible. A small phrase using artificial harmonics with other voices is a big challenge (a difficult technique) that is wonderful when mastered, and the way that the ending evaporates has a real "tingle" factor!

The final piece, Descent from La Coupee (304 steps) is the most dramatic, dissonant and exciting. The dissonances may take some time to get used to when you are learning the piece, but the effect they add to the driving rhythms conjures up many pictures including, for me, a thunderstorm, crashing seas and fright in the repeated chord section! The use of strumming and punctuated rhythm in the coda results in a big, dramatic ending.

This set of pieces would stand quite happily alongside more complicated and difficult works in performance and I think that any player would have fun (and benefit from) exploring them - I know that I do!

Selina.

222

Theory of Music Workbook Grade 8

Trinity Guildhall

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Designed for use during lessons or at home these workbooks contain all the requirements for Trinity Guildhall examinations. Each book also contains sample exam paper.

Skill Level
Advanced
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