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 1 - 24 of 290

Sheet Music Database

3212

Scenes for Guitar Book 2

Gary Ryan

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When I meet people at recitals or after adjudicating at music festivals they often say to me "I really like your Scenes from the Wild West but it is too hard for me. Please can you write some easier pieces?" Here is a set of eight pieces which I have tried to make accessible and a little easier. Hopefully you will find something to enjoy. Gary Ryan

Skill Level
Intermediate
302

Villanesca

Enrique Granados

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Certain pieces of music stay with you all of your life, they just sit there in ones memory waiting to be brought back to life. Villanesca is a piece I learnt. played, loved, was excited by and impressed myself with.

Skill Level
Advanced

This is a good edition of a lovely piece originally written for the piano although it is probably better known as a classical guitar piece. It does ask for the guitar to be retuned with string 5 tuned down to G and string 6 down to D.

Do not be put off by this!

There are very few fingered notes on these two strings to have to adjust, and the tuning gives the piece a beautiful warm and open sound helping to create the atmosphere. Also most guitars sing beautifully with this tuning!

Unfortunately there is a rather big misprint in the first 4 bars. The bass note of each of the chords is written as a low E, normally open string 6. It is fingered with a 0 and is supposed to be a G – in this case open string 5.

Watch out for this and don’t try to find an E!

There are a lot of notes in higher positions and the fingering is detailed and helpful although do try to learn the actual notes as well, it will really improve your higher position reading. The arranger also makes good use of harmonics which are marked with position and string.

This really is a lovely piece with a simple melody that repeats and builds, with an accompaniment of Bass G crotchet followed by the highest D crotchet repeating to great effect (reminding me in some ways of Ravel’s Bolero accompaniment). There is a beautiful rubato, minor middle section that loses the regular accompaniment and moves into three voices diverging and interweaving, before returning to the uplifting main theme.

Great fun.

Selina.

282

Pumping Nylon Intermediate

Scott Tennant

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Welcome to the second installment of the repertoire supplements to Pumping Nylon. As the title indicates these pieces are more advanced and are primarily concert pieces. Consider this book to be a brief representation of the types of pieces that contain specific technique building elements. When practiced correctly they aid in the development of your guitar playing skills. CD included.

Skill Level
Intermediate
Advanced

I do find the title and cover of this book (and the technique book of the same name) very inappropriate to represent my beautiful and lyrical classical guitar, however, once I had got past this I could see the huge benefits for a student of the guitar, namely the great collection of varied pieces from old to brand new.

The pieces in this book offer a wide and varied ‘dip’ into the guitar repertoire from The Frog Galliard by Dowland, to a Coste study, a Villa Lobos inspired Etude and on to the cadenza from Concierto de Aranjuez by Rodrigo!

The preface explains how these are primarily concert pieces and therefore more substantial in technique, musicianship and length than in the previous volume. Tennant asks us to consider the book as a brief representation of the types of pieces that contain specific technique-building elements and, when practiced correctly and with intent, will aid in developing your guitar playing skills.

The techniques highlighted include arpeggios, left hand finger independence, chord balancing and specific techniques like tremolo. Each piece has its own checklist and a short explanation for its inclusion in the book. It is very valuable to be able to see the technical development needed in your various pieces so that you can practice them in the correct way, but it is also very important not to forget, and to make sure that you spend plenty of time practicing, the musical elements. Tennant has hinted at this in some of his descriptions, for example Variations sur les ‘Folies d’Espagne’ by Giuliani – “a typical and lovely variation set”, and The Frog Galliard – “I hope you derive as much joy from it as I have over the years.”

As in the previous volume the music is very diverse and offers as much experience in musical style as in technique. There are long flowing phrases and lovely harmonies in pieces by Milan and Narvaez, great fun in the Folies Variations by Giuliani and a fantastic study by Coste which inspires musicianship through the sounds produced by detailed articulation and slurs.

Alongside these are 2 flamenco studies by Adam del Monte that offer the classical student wonderful technical development and musical excitement and Plainte by Brian Head where voicing is the challenge, definitely not only a technical challenge. Having the cadenza from the Aranjuez is the icing on the cake and is guaranteed to make you feel good!

A book like this gives us many choices and experiences, as long as we use it with an open mind, don’t blindly follow technical checklists but use them as a guide and source of ideas for you to develop, and most of all enjoy playing the music.

Selina.

musdeviseedelresole

Musica Del Re Sole

Robert De Visee

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Skill Level
Intermediate
musmartinquatrepiec

Quatre Pieces Breves

Frank Martin

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This edition presents the work in the form in which it appears in the definitive manuscriot written in 1955. The original composition for guitar solo dates from 1933 which was later arranged for large orchestra.

Skill Level
Intermediate
muslauro2venzwaltz

Two Venezuelan Waltzes

Antonio Lauro

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

Skill Level
Intermediate
muswandersiquepasa

i Que Pasa !

Jeop Wanders

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The twelve duos in this album are in the Spanish styles so characteristic for the guitar. The distinctive character of the pieces emerges from the way they are played and from special effects like flageolets, tambora, golpe etc. The two guitar parts make equal demands on the players. It makes no difference who plays which part. The album is an excellent aid to duet-playing. The CD is both instructive and for playing along with. Difficulty level grade 3

Skill Level
Beginner
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musmagicguitareasypieces

Magic Guitar Easy Pieces

Claude Gagnon

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Easy Pieces Book One contains twenty-one graded easy pieces, selected and edited by Claude Gagnon. The Magic Guitar series presents a collection of pieces suitable for the first years of classical guitar study, designed to be used along with a method. The main purpose of The Magic Guitar is to give beginning guitarists the opportunity to express themselves musically at various stages of their technical development.

Skill Level
Beginner

These two volumes offer a wide range and variety of music for guitarists in their first years of playing.

At first the emphasis is on developing melodic playing combined with simple bass lines but even here the student is challenged with detailed phrasing, tied notes and right hand techniques like the arpeggio pattern in "Etude" by Carcassi.

Contemporary, Classical and Traditional styles are all mixed together helping to maintain interest and offering something for everyone, for example the popular "Greensleeves" (it is always particularly satisfying to be able to play a piece that everyone recognizes!).

As the books progress the music becomes more detailed.

The first book works up to the use of thirds in the melodic lines, more complicated bass lines requiring sustained fingered notes and up to three fingered notes together – notably in no.16 "Theme et Variation".

In "Chanson Populaire" the melody to bring out is in the bass and "Souvenir d’Espagne" introduces rasgueado chords and flamenco triplets.

The second volume includes more detailed counterpoint and requires greater musical understanding.

Higher positions are explored here, for example in "Etude"” by Coste and there is a nice mix of arpeggio style and purely melodic pieces.

I particularly enjoyed the collection of classical pieces, "Marlborough" which is an effective arrangement of this traditional melody, and the final "Valse" which is simply great fun to play and listen to!

Selina.

161

The Enchanted Forest

Peter Nuttall

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One delightful (two page) piece with a haunting melody, introducing the student to classical tremolo technique. A must for all aspiring guitarists.

Skill Level
Beginner

This lovely little piece definitely fills a gap in technical development for guitar students in that it gives us the chance to start learning about and developing tremolo technique at a much earlier stage in our learning.

Tremolo involves rapid right hand finger articulation, usually in a “p a m i” pattern designed to give the impression of long sustained notes which can then form a melody or act as an accompaniment or counter melody to a bass melody.

There are a few easier studies from the 19th century using this type of technique but all of the main pieces are advanced repertoire, most famously Recuerdos De La Alhambra by Tarrega.

The Enchanted Forest uses simple Left Hand fingering with no quick changes to notes and positions in the tremolo line.

The left hand consists mostly of half barre shapes moving up and down the fingerboard with some easy fingering around that. The bass line is very good for working on travel of the thumb across the strings and is easy to hear and shape as a musical line. Both the bass and tremolo notes are to be highlighted rather than one being purely accompaniment.

The thumb has a low string to stretch to at the beginning of each bar and then mostly alternates closer to the fingers, much easier for the tremolo novice!

The earlier that we can start working on this technique the better as it can become a natural part of the way that we use our fingers and this piece offers a fantastic opportunity for that and for enjoying a beautiful, little musical experience.

Selina.

musdodgsonodetotheguitar

Ode to the Guitar

Stephen Dodgson

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Stephen Dodgson was educated at the Royal College of Music, where he later taught theory and composition. His guitar music has gained recognition, despite the fact that he does not play the instrument himself. His remarkable grasp of the instrument’s capabilities in a distinctly non-Spanish idiom deserves to be heard more widely. John Williams premiered many of his guitar works, including the first Partita and the first guitar concerto.

Skill Level
Intermediate
Advanced

This book is “A Sequence of 10 Miniatures’ written by a composer with a great pedigree in writing original and ‘far reaching’ music for the classical guitar.

By that I mean that the music stretches our technical abilities and musical ideas and has been very important in the development of the guitar repertoire in the 20th century.

In his preface Dodgson describes his collaboration with Hector Quine in writing a series of technical studies to complement a rapidly expanding guitar repertoire. After 20 years there was a pause in writing and although many aspects of technique had been explored Dodgson felt that there was one vital element missing – the expressive requirement. In this volume he set out to provide ”a strongly coloured miniature which will encourage the right hand to give voice to a full range of expression”

I think that he has achieved his aim with these miniatures and has gone beyond that in introducing guitarists to a truly contemporary style and new musical language, developing reading and interpretation skills as well as musical imagination.

The old excuse of “I can’t learn the piece because I don’t know the tune!” doesn’t work with these pieces.

The titles are very important, supplemented by ‘character’ and ‘feeling’ words in place of traditional tempo markings or expressions; for example ‘brisk and impish ‘,’radiant and sustained’ and ’menacing and intense’, which send direct messages to the fingers before you have even listened to the music!

There is of course a level of technique needed to get the most from this music, but I think that it also helps to develop this from the angle of tone colour, texture, spirit and story telling. The ability to listen and use your imagination is very important throughout the learning process, as is a strong rhythmical feel. A lot of the harmony is dissonant and unusual but there are also plenty of recognizable features to help you to develop an understanding of the style. The pieces use the whole range of the guitar in a very free flowing manner and even though the positions and shapes may be unfamiliar the music is very well written for the guitar both technically and musically. Fingering is used sparingly encouraging the player to explore.

  1. Ode to the Guitar - arpeggio figures punctuating slow melodic lines;
  2. Ragged Robin (grade 6) – clever use of the left hand around the fretboard giving the cheeky and impish character required, with small motifs linking and giving direction;
  3. Rainbow – constant flowing semiquavers where the player needs to listen to the harmony for shape and direction. It is particularly important to read the musical instruction here;
  4. Ghost Story (grade 7) – the melody and harmony are very contemporary with the melodic intervals and dissonances giving it the sinister and menacing feel;
  5. Drowsy Head – clear melody and direction with fingering patterns and a great mental picture to follow!
  6. O Pussy my love – a serenade feel and ideal pulsing accompaniment with a stretched rhythm to challenge you and detailed and tricky left hand work;
  7. Call, and I follow – lively and tricky requiring a light touch and good counting!
  8. Sirins (grade 6) – one of my favorites with clever use of subtly changing harmonies and lilting pulse;
  9. Hornets Nest (grade 8) – great fun with detailed left hand work cleverly under the fingers even if they have to move to get there!
  10. Villanelle – rustic with great spirit in the rhythm, range and lovely bass melodies.

To conclude, these pieces really are small windows onto emotional feelings and characters and as Dodgson says of the benefits of learning; “an awakened imagination is the spark; the reward, a tiny concert piece that sounds like one.”

Selina.

musferrercharme

Charme de la Nuite

Jose Ferrer

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

Skill Level
Intermediate

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

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

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

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

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

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

Selina.

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90

Guitar Crackers

Cees Hartog

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Solos for Classical Guitar. Traditionals, Folk, Blues, Country, Latin Americans, Romantic Moods. Popular. Level: Easy. Book. 24 pages. Published by Alsbach

Skill Level
Intermediate
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
70

Solo Now - Preparatory Book

Chanterelle

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Specially commisioned easy and accessible guitar solos with minimal demands on the left-hand so that the student can concentrate on a stable relaxed right tirando technique. Other techniques such as appoyando, tremolo, simple chords, tambora and rasgueado are also covered.

Skill Level
Beginner

This is a great new addition at the beginning of the EGTA guitar series. It introduces the idea of modern music at an early stage and gives invaluable experience in interpretation since the pieces need the performers input with articulation, dynamics and shaping to give them their character.

Over the years I have found that, given the chance, young people love to play dissonances and big contrasting dynamics, making the music more theatrical and telling a story that they can relate to.

Titles like "My Dog has Fleas", "Beasties" and "Square Pegs, Round Holes" make you smile and give you ideas of how the music should sound before playing a note! Other pieces like "The Lost Abbey", "The Forbidden City" and "Sad Song" need a lot of atmosphere, and "Japanese Garden" and "High Life" introduce different cultures and musical languages.

Several of the pieces reflect blues and reggae styles with simple, but very effective, syncopation. My favourites are "High Life" for its sheer happiness; "Rumba Flamenca" which makes excellent use of an 8/8 time signature; "Japanese Garden" for its beautiful delicacy and "Regular Reggae" which is just great fun!

I will definitely be introducing this book into my teaching repertoire.

Grade 1

  • A Little Russian Tale: a simple melody accompanied by open bass strings with a title and shape that really encourages character.
  • My Dog Has Fleas: this uses nice, open string arpeggio figures with some more jumpy, crotchet and quaver “itchy” rhythms.
  • Pas De Deux: introduces effective 2 part contrapuntal writing with a strong bass line.

Grade 2

  • Sad Song: asks for long, legato phrases using echoes and "question and answer" shape.
  • Gimme Five: with echoes of the famous Gimme Five, a strong syncopated rhythm.

Selina.

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52

Guitar Scales and Arpeggios Grades 1 to 5

ABRSM

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This new edition contains all the scales and arpeggios required for the Grades 1–5 ABRSM guitar exams. All scales and arpeggios for the revised syllabus from 2009. Suggested fingering provided, helpful introduction including advice on exam preparation, user-friendly format and clear page-layout.

Skill Level
Beginner
Intermediate
42

The AB Guide to Music Theory, Part II

ABRSM

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Provides an introduction to the basic elements in harmony and musical structure. Separate chapters on voices, string instruments, woodwind and brass instruments, percussions and keyboard instruments, and instruments in combination. Covers non-harmony notes, tonal harmony and chromatic chords, and musical structure.

Skill Level
Intermediate
Advanced
musicbrouwer2

Un Dia de Noviembre

Leo Brouwer

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An extremely enjoyable piece for those looking for music to please an audience who may be new to classical guitar. Clearly printed and easy to read the music spans two pages ensuring no page turns.

Skill Level
Intermediate
Advanced

This piece has a beautiful melody, wistful and contemplative at first, with plenty of contrasts in emotion and atmosphere to captivate the listener and the player.

The piece really shows Brouwers complete understanding of the guitar and how to get the best from the instrument and the player.

He uses patterns of fingering in both hands and although some of the moves are tricky, with one difficult stretch, the piece feels very natural overall, falling under the fingers and allowing more time for interpretation.

The music employs good, basic guitar techniques, most importantly keeping the melody and phrasing flowing over the accompaniment while also recognizing the bass line. It is also good for listening to harmonies and progressions, and how these influence musical direction.

The piece has three main sections; A introduces the main melody and returns after B and C. B maintains the melancholic feel but moves into a higher register, moving back and forth between 2 motifs and giving a more restless feel. C is in a major key with a brighter feel and stronger rhythms in contrast to the gentle, arpeggio accompaniment of the first two sections.

I found that the more I play this piece the more I find within it. It is very enjoyable to play and an excellent ‘audience’ piece. A must for any Players/Performers repertoire.

Selina.

musyorkkinderlight

Kinderlight

Andrew York

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York's first big break came in 1986 during study in Spain. In a concert at the end of the course, he played one of his original compositions, "Sunburst." Guitarist John Williams, who happened to be in the audience, was impressed with the piece. He asked York to transcribe it and send it to him in England. Williams's interest in the piece was not a momentary thing: not only did Williams add it to his performances, but he also recorded it. Since then York has published many works including Kinderlight a book of 7 pieces. If you are a fan of his music, as I am, Kinderlight will be a great addition.

Skill Level
Intermediate
Advanced
318

The Guitar Music of Spain Vol 1 Bartolome Calatayud

Bartolome Calatayud

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A series of three volumes, with over 50 traditional pieces by Bartolome Calatayud, graded from simple to advanced throughout the book. This the first book in a series of three volumes which contain the very best of Spanish guitar music.

Skill Level
Beginner
Intermediate
Advanced
299

Café Music

Michael Stimpson

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Suite for Solo Guitar, was originally conceived as a reflection of the lighter styles of music written for the classical guitar. The character of the suite is predominantly preserved by the contrasts of mood between pieces. Adrian's thoughts - I was introduced to this book many years ago and thoroughly enjoyed the challenge.

Skill Level
Intermediate

This is descriptive music at its best with storytelling created using harmony and texture as well as through title, tempo and rhythm.

In order to communicate the music successfully the player has to be aware of the musical detail and be interested in the emotions and stories being told.

These pieces provide excellent experience in developing musicianship with a lot of detail written in to each piece, for example articulation, dynamics and tone colour. This also challenges the player technically but in the end it is thinking of, and listening to, the music that must be the most important thing.

Ouvert, a gentle introduction with warm cross string resonances, slurs and glissandi that all combine to create atmosphere. I love the closely spaced “talking” voices.

Promenade has a strong storyline and lots of contrast between the repeating, stately ‘promenade’ phrases and sections between. The first of these changes key and uses triplets and warmer colours to give a light and fluid feel. The second is slower and more tranquil while the third is in a minor key and lower in pitch with some lovely dissonances giving a darker feel.

Reverie is slow, sad and dreamlike using a repeated melody in different registers. It requires a lot of tonal control with a beautiful combination of tambora chords and harmonics at the end.

Folies is all in thirds and so the angry and bustling feel is quite tricky technically but very exciting all the same! I particularly like the arpeggios across the strings in thirds at the end.

Chanson is a joyous and flowing piece, again more challenging with barres and flowing arpeggios incorporating an upper melody to highlight.

Ferme is the finale and has great lift and rhythm with plenty of articulation, dynamic contrast and rasgueado technique.

These are great little pieces guaranteed to keep you occupied for months and very effective in performance.

Selina.

283

Progressive Reading for Guitarists

Stephen Dodgson and Hector Quine

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Only recently sight reading on the guitar was described as a nightmare. The traditional way of learning to play the guitar is to start in first position then gradually work up the fretboard. This book dispenses with this method. To obtain the best from this material read the Preface and introduction where there is information on how best to use the book. I have found this to be the best book written for becoming at ease with the guitar fretboard.

Skill Level
Beginner
Intermediate
Advanced
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
muslerichsixpreludes

Six Preludes

Pierre Lerich

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These six preludes are a must for any aspiring player. I remember studying themin my earlier years and now having re visited them, I have to say they are still just as good. Musically expressive, and each with their own technical intricacies; but most of all great fun, offering a sense of achievement upon completion.

Skill Level
Intermediate
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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
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