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 97 - 120 of 290

Sheet Music Database

musdodgson12intros

12 Introductory Studies for Guitar

Stephen Dodgson and Hector Quine

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These introductory studies are intended to introduce the player to a wide range of technical and musical challenges. A good sense of rhythm and counting are called for to help develop right hand articulation and left hand independence. Many of the rhythmic patterns need to be mastered if one is to advance to the higher grades in classical guitar exam syllabus.

Skill Level
Beginner
Intermediate
91

The Guitarists Progress Book 3

David Burden

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The Guitarist's Progress Book 3 - A selection of the best 19th Century works for guitar. Music for the intermediate stages of classical guitar playing, arranged by David Burden.

Skill Level
Intermediate
muswanderslatinduetsvol1

Latin Duets Volume 1

Jeop Wanders

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Book 1 is a great place to start for those interested in duet playing. Clear and easy to read this first book in the 2 book series offers each player music in two part harmony with a variety of rhythms that introduce the Latin feel and best of all the music is fun. Joep Wanders style of writing suits the guitar beautifully and you will gain a huge amount of confidence from playing these pieces. A play along CD is also included.

Skill Level
Beginner
Intermediate
Ensemble
71

33 Czech Folksongs - (Pupils Part)

Peter Eben

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Learning to phrase melodies is the goal in this well chosen selection of folk songs by leading Czech composer Peter Eben with teacher's accompaniments.

Skill Level
Beginner

These beautiful, melodic, yet simple pieces have been arranged for 2 guitars from Petr Eben’s setting of 100 Czech folk tunes for solo piano – an achievement that he described thus:

Reach into the jewel box, take a handful of precious stones and set them into children’s rings!

The pieces are ideal for early learning as they emphasize the playing of melodies in low and high registers, shaping phrases and bringing out articulation. The pupil part always has the original melody with the teacher as purely accompaniment.

There are suggestions for right and left hand fingering which the preface advises teachers to follow, as they have been included for essentially musical reasons.

This is very enjoyable and charming music that also teaches style and interpretation and, most importantly for guitarists, how to follow a melody. Beginners are learning primarily how to sing a melody through the guitar, a vital first step in musical development.

Grade 1

  • The pipes were playing at Pobuba: emphasizes smooth phrasing across strings with lots of dynamic contrast, using i, m and a.
  • Oh love, oh love: this is a very simple, slower melody with echoing phrases in octaves, and concentration on phrase shape, hairpin dynamics and expression.

Grade 2

  • Andulichko, hello: a lively melody in 3/4 time, G major; question and answer phrases with repeat down an octave and fingering in third position.
  • When I took geese to the pasture: very strong quaver rhythm in 2/4 time, D major, that really brings out the character of the geese!

Grade 3

  • Whose are these geese? : quite a melancholy melody requiring long phrasing and detailed dynamic control. The first melody is repeated down and octave and then again in thirds.

Selina.

musabtheory7

Music Theory in Practice, Grade 7

ABRSM

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Covers all aspects of the Grade 7 Theory of Music examination. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Skill Level
Advanced
320

Scenes for Guitar Book 1

Gary Ryan

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Hopefully you will find something to enjoy in this collection of ten pieces for guitar (which I like to think are the kind of pieces I would have enjoyed learning). I have certainly enjoyed writing all of them and always try to incorporate useful technical and musical ideas into each one to create a particular image or mood. Gary Ryan

Skill Level
Beginner
Intermediate
musplayford

Playford Fantasia

John Whitworth

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This imaginative and evocative piece is a continuous set of variations on the English dance tune Goddesses, and provides a rare opportunity at this level to play and experience a work of real substance. It has a distinctive English flavour.

Skill Level
Intermediate
musicbrouwer3

Nuevos Estudios Sencillos.

Leo Brouwer

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A group of studies covering various techniques such as arpeggio, staccato, legato, afro-cuban rhythmic patterns, tremolos, partial barre, this is an essential book for the committed student.

Skill Level
Beginner
Intermediate

I have always been a fan of Leo Brouwer’s music and so was immediately drawn in to these studies with their great use of the guitar and "natural" technique that compliments rather than fights the music!

Like Brouwer’s "Simple Studies", they provide varied technical and musical skills as well as training the ear to the more unusual sounds and dissonances of modern music which is very important in the development of the young (and not so young!) budding guitarist.

At the same time Brouwer manages to keep the music very lyrical, linking each study to a composer (homage to…) which heightens interest!

My only worry is the statement in the notes for study number one that the collection is for beginners or children. I think that these pieces would be of benefit to, and enjoyed by players of any age, but possibly suited to those with a bit more experience since the notation, rhythms and voicing is quite tricky in places.

I would place them at a grade 3 to 5 level, possibly 6 if all the tempo and articulation markings are kept to (for our database beginner/ intermediate)

Each study has written notes which clearly explain what is required and what to focus on.

The music requires clear dynamic control, careful articulation even between voices, pinpointing melody within arpeggios, legato phrasing and syncopated rhythms. There is simply loads to work on in each piece!

My favourites are Tarrega (no. 5) with its minimalist style, tremolo development and strong echoes of Brouwer’s Decameron Negro; Prokoviev (no. 4), which has an excellent, rhythmical bass melody; the lovely harmonies and chord melody in Villa Lobos (no. 8) and the beautiful simplicity of Szymanowski (no. 9).

Overall, this collection of pieces would be of great benefit to players of all standards and I particularly like the link to composers that will hopefully encourage young people to explore different kinds of music. Importantly the strongest element of "study" here is musical – excellent!

Selina.

289

Specimen Aural Tests 2011 Grades 4 & 5

ABRSM

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Aural tests are an integral part of all ABRSM Practical graded music exams. The Specimen Aural Tests provide teachers and students with many practice examples of the tests to use as part of a music lesson or when preparing for an exam. This volume covers Grades 4 & 5 and includes practice examples for each test in a range of musical styles the examiner rubrics (the exact words that will be used by the examiner to deliver the tests), so that candidates can be fully prepared for what will happen on the day. Descriptions of the tests as they appear in the syllabus model answers, where appropriate, as a guide to the sort of responses that would be successful in the exam. The Specimen Aural Tests come complete with 2 CDs.

muspernambucochorosvol1

Famous Choros Vol. 1

Joao Pernambuco

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This series presents a selection of the most popular and memorable works from the wealth of 20th Century Brazilian guitar music. Emphasis has not only been placed on the selection of works, but significantly, great care has been taken to choose the best versions, which in many cases are being published for the first time.

Skill Level
Intermediate
Advanced

This music is great fun to play and very rewarding in also being music that people love to listen to!

The pieces have real spirit and style with driving rhythms, singing and syncopated melodic lines and some excellent bass melodies.

The word Choros came to be the name used for music played by ensembles of Brazilian street musicians (called Choroes) and this loose and lively style is captured very well in these arrangements.

The pieces use the full range of the fingerboard and offer a great deal in terms of expression, dynamics, texture and colour. In fact they are technically challenging for both hands as well as our counting ability and being able to follow their melodic and harmonic progression.

The music is very clearly printed and well edited giving the player as much help as possible without over fingering or creating too much clutter on the page.

For example Brasileirinho uses arpeggio patterns across the strings creating campanella effects that require ‘alternative’ fingering. The writing is clear and easy to read, with the position being indicated by a string number for the first note of the chord. This clue helps you to find the position but you still have to do most of the work meaning that you are constantly learning notes in new positions!

Sons de Carilhoes (Maxixe) is a very popular piece on the guitar and is presented here in 2 versions. The piece has fantastic movement and requires great dexterity around the fingerboard. The syncopated rhythms and ‘sing along’ melody carry you through Dengoso, and I love the contrasting bass and treble melody in Grauna with a brilliant build up to the repeat of the main theme.

Another favourite is Po de Mico. This piece is really quite virtuosic, moving quickly around the fingerboard in single lines and chords. The musical pace is exhilarating but the melodic lines still need to sing and the rhythms need to be clear enough to drive the music.

These pieces are by no means easy but the finished result is so enjoyable that they are well worth the effort, and remind me the main reason I play, and that is simply enjoyment!

Selina.

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classical6

The Classical Book

Chanterelle

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This is the first accurate and reliable modern edition of Matteo Carcassi's 25 Melodic and Progressive Studies op.60. They are presented complete in their correct order with the composer's original fingering and phrasing. An indispensable part of the repertoire, these studies cover a wide variety of guitar techniques and are musically both inventive and attractive

Skill Level
Intermediate
Advanced

The 25 Melodic and Progressive Studies Opus 60 by Carcassi are fantastic pieces that should be an essential part of every guitarists repertoire.

They are more than studies, encouraging players to find musical shape and develop ideas using combinations of melody, accompaniment, various intervals both split and together, slurs, arpeggios and chords, creating some little musical gems.

At the same time they give an excellent grounding in the basic guitar techniques that are all to often taken for granted but that form the backbone of pretty much all the music that we play.

The most recent edition by Chanterelle has an excellent preface with information about Carcassi, a general description of the music and discussion about sources and early editions.

Of most interest to me are the comments on fingering.

They have used the Rowies edition as the main source, printed in 1914 and fingered by Miguel Llobet. Their reasoning is that this edition is very important in the history of The 25 Etudes, having, as they say one foot in the 19th century and one foot in the 20th century. This means that the edition respects the traditions of the past while looking forward to the development of guitar technique.

This is great information for a player to have and recognizes how playing techniques are constantly changing. It is very important for us to understand techniques and performance practice from the past so that we can use the information to help us interpret the music.

My problem comes when looking at the studies and seeing the level and very specific nature of the fingering. There is a lot of explanation in a long section following the preface entitled Playing The Studies. This is very interesting, especially useful if you are looking at the pieces without a teacher.

A lot of fingering is explained in detail with suggestions on learning the music. It is of course very technical, an important part of learning, but not the only one. The detailed fingering is then continued in most of the pieces and seems to result in learning by numbers.

For example in no. 1 the student is so involved in getting the printed right hand fingering correct (there is a letter for almost every note) that they haven’t got time to listen to musical lines, and so follow the natural flow of the music and discover a fingering that fits.

Since this edition has such a good preface and section of notes on the music, a lot of the technical information could be referred back to this, allowing the player more freedom to learn and interpret the music.

The reasons for using a later edition rather than Carcassi’s original fingering are ones of technical and musical progress.

Surely that still applies!

Moving on – I think that this music is fantastic. It really is collection of musical miniatures that, with the right attention to detail, make lovely little concert fillers and provide an excellent education for all guitarists.

Carcassi uses a number of different compositional styles and what I find most interesting is the music that is shaped with harmony, in other words with no obvious melodic line but the tension, relaxation and movement provided by changing harmonies. The best examples are no.8 using slurs to add texture and increase movement, no.4 with many more slurs to negotiate, no.2 with a dramatic build up in pitch and intensity, and no. 7 with a combination of repeated ‘tremolo’ notes and arpeggios underpinned with a clear bass melody.

Many of the studies are based on the harmonic movement with melody found within the arpeggio pattern or chord shape. The most well known example is no.3 in A major with a simple upper melodic motif and strong bass to help develop shape. Nos.1 and 6 clearly use simple scale patterns and show how developing smooth and fluent movement between notes brings simple lines to life.

I particularly like the vitality and bubbly character of no.9 with quick movement around the fingerboard, and the melancholy melody singing out from the triplet patterns in no.13. Nos.16 and 21 show how effective close chords punctuated by rests are in giving character and rhythmic shape to music and nos.20, 21, 22 and 23 develop quick, free and full movement up, down and across the fretboard resulting in breadth and excitement in the music. Nos.24 and 25 combine all the skills and musical ideas worked on in the book in two beautifully contrasting pieces from melodic lines moving smoothly between bass and treble voices in no.24 to the flowing and expansive arpeggio passages of no. 25.

If you can fluently use the techniques in these pieces and shape the music from them then the guitar repertoire opens out before you and you can move forward knowing that your foundations are strong. You will also thoroughly enjoy the learning process and will be able to experiment with lots of musical ideas, textures and emotions.

Just don’t get distracted by the fingering – be independent and learn more!

Selina.

musnoadrenaissance

The Renaissance Guitar

Frederick Noad

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Although separated in time from us by almost four centuries, the late Renaissance provides a most fruightfull and enjoyable source of music. The tunes are lively and straightforward and most importantly some of the best composers of the period were writing for plucked instruments. In the Renaissance period the repertoire for plucked strings was the largest and most important body of instrumental music. CD included in this edition.

Skill Level
Beginner
Intermediate
Advanced
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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
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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mustrinitytheoryg4

Theory of Music Workbook Grade 4

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 papers.

Skill Level
Intermediate
37

Guitar Exam Pieces CD Grade 4

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
Intermediate
314

Trinity Guitar 2016-2019 - Guitar Grade 8

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
Advanced
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
323

Complete Studies for Guitar

Fernando Sor

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Edited by Paolo Cherici. In editing Sor's studies Cherici is attempting to seek new performing possibilities. Cherici has not restricted himself to Sor's original fingering or even to the traditional solutions adopted. Cherici wishes to develop an outcome that reflects his own personal view of how these pieces should be performed.

Skill Level
Beginner
Intermediate
Advanced
musUhl10pieces

Ten Pieces for Guitar

Alfred Uhl

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

Skill Level
Intermediate

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

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

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

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

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

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

Definitely recommended.

Selina.

116

Suite Castellana

Federico Moreno Torroba

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Guitar Solo. By Federico Moreno-Torroba. Arranged by Andres Segovia. Published by Schott Music. Contents: Fandanguillo * Arada * Danza

Skill Level
Advanced
musryansongserin

Songs From Erin

Gary Ryan

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Songs from Erin (2007) is a shorter, two movement work for guitar commissioned by Rebecca Baulch and inspired by Ryan's visits to Ireland. Ryan explores different tunings for the guitar in these pieces, making the instrument sound reinvigorated, idiomatic and resonant in new ways. Out of Clonmel has an energetic flavour reflective of Irish folk music Lough Caragh is more contemplative and influenced by the traditional Irish ballad.

Skill Level
Advanced
baroque

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
musoneplusvol28

One + One Volume 2 (Teachers Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

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