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 241 - 264 of 289

Sheet Music Database

221

Theory of Music Workbook Grade 7

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
muswandersbluesrags

Blues Rags and Rock n Roll

Jeop Wanders

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20 easy pieces in the lighter vein. With a number of familiar traditionals like Midnight Special, The House of the Rising Sun and some new pieces composed in familiar styles, this collection is a welcome addition to the student repertoire. Now with PLAY-ALONG CD. Difficulty level grade 1/2

Skill Level
Beginner
rodrigomusicminusone

Concierto De Aranjuez

Joaquin Rodrigo

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What is undoubtedly the most famous and most acclaimed guitar concerto ever written is now a fabulous Music Minus One release! The recently deceased Joaquin Rodrigo, foremost proponent of the classical guitar in the concert literature, wrote this masterpiece of 20th-century music in 1939. Gorgeous and eternally popular, it is an indispensable component of any guitarist’s library. This deluxe 2CD set includes a slow-tempo practice version to help you get up to speed. Digital stereo CD with full performance, and second performance minus you, the soloist.

Skill Level
Advanced
musmoodsblues

Moods n Blues

Peter Nuttall

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A colourful collection of appealing pieces for the early student. Written in a variety of attractive styles - blues, simple flamenco, classical etc. These pieces serve as a very playable and enjoyable introduction to many common guitar techniques and idioms.

Skill Level
Beginner
musdowlandsolowerke

Solowerke 1

John Dowland

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I think every guitarist should have some experience of Renaissance lute music. It has so much to offer us in musicianship skills and we are very lucky to be able to play the music of such a great composer. John Dowland Solowerke Vol.1: Solos for classical guitar. Universal Edition

Skill Level
Intermediate
Advanced

One of the most important things to look for when playing music that has been arranged or transcribed is the quality of the edition, for example notes and explanations on sources and performance.

This edition has a short preface covering all the main points; sources, recognition of the main, comprehensive edition of the complete lute music, explanation for the use of F sharp tuning and the suggestion to raise the pitch of the guitar with a capo so imitating the lute more closely and getting more detail from the music.

There are also some facsimile prints to show you what the original lute music would look like. I absolutely love this music, an interest that goes back to falling in love with my guitar teachers lute at the age of 8!

It has so much to offer us in musicianship skills and we are very lucky to be able to play the music of such a great composer.

In this collection you are introduced to the various dance forms used as the basis for many of the compositions in the Renaissance. There are simpler, chordal pieces in Tarletons Riserrectione, My Lord Willoughby's Welcome Home and Round Battle Galliard as well as complex, contrapuntal pieces in The Right Honourable Robert, Earl of Essex, high Marshall of England, his Galliard. Are not the titles fantastic as well, giving you a real sense of history and living music! In the first Galliard we are introduced to imitation between voices and suspensions in inner parts creating wonderful dissonances. This little piece demonstrates how important listening is with this music, that is listening to horizontal lines and phrases rather than just learning through fingering and shapes.

The compositional technique of using Divisions to build a piece is perfectly demonstrated in Sir John Smith his Almaine (this is probably one of my favorite ever pieces by the way). Divisions are when each theme is repeated in a more decorated version so adding to the build up and variety in the piece. John Smiths is lively and strong, with simple, long flowing phrases and a real sense of movement. The Frog Galliard (grade 8) is very similar, without complex counterpoint but with strong rhythm, dance movement and constant development through the piece. Another Renaissance technique was to extend bar lines at cadences, which has the effect of pushing the music towards the conclusion. This happens at the end of each section in The Frog Galliard effectively creating a 3/2 bar from 3/4 bars before each cadence. In this edition the hemiola technique that I have just described is indicated with brackets under the music.

One result of the use of divisions in a piece is some quite extended, quick and virtuosic semiquaver passages to deal with. There are also decorated final chords in several of the pieces which look to have very quick notes but are intended to be played more freely, as a finishing flourish! The idea of suspensions comes out beautifully in The Shoemakers wife and the counterpoint in Lady Rich and The Earl of Essex is stunning.

I think every guitarist should have some experience of Renaissance lute music. There really is something for everyone, from strong driving rhythm to interweaving lines, beautiful dissonance and pure singing melodies. This collection goes from about a grade 4 standard virtuoso pieces that are not out of place on the concert platform. And there is so much more to explore!

Selina.

musfirstbookguitarsolos

A First Book of Guitar Solos

John Gavall

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30 short and easy pieces, including original works by Carcassi, Carulli, and Sor, and arrangements of folk tunes

Skill Level
Beginner
92

Easy Pieces from Shakespeares Time Vol.1

Karl Scheit

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This music, in its beauty and easy playability, constitutes an excellent introduction to the extensive lute literature of the Elizabethan Era. Through the pieces in this collection the player, from the outset, will be made familiar with the most diverse interpretation techniques, such as ornamentation, diminution and song settings for lute alone. Includes pieces by John Dowland, Francis Cutting and Thomas Robinson. These two volumes are full of pieces that have stood the test of time and are a must for anyone learning the classical guitar.

Skill Level
Intermediate

I am so enjoying reviewing our music because I am being reintroduced to a lot of the music that has been part of my life with the guitar and realizing how much great stuff there is to choose from whatever your level and expertise.

These books probably represent my first introduction to music of the Renaissance, music that is still my favourite.

We are so lucky as guitarists to have repertoire that spans so many centuries to choose from and the pieces here are simply great for developing musical skills like counterpoint, highlighting voices, repeated chords and exciting rhythm.

These books have been around for a long time, a fact that reflects their value on technical, musical and enjoyment levels. The printing is clear and the edition is good with fingering suggestions rather than the blanket fingering that is common among modern editions. The books include a wide range of music, from simple dances to slower more gentle pieces and on to quite difficult rhythms, voicing and counterpoint. Many of the pieces use compound time like the delightful A Toy and Wilson’s Wilde in volume 1, so good for improving your counting skills and developing a real feel for pulse which is so vital for flowing and musical performance.

What if a Day (vol.1) is excellent chord voicing, listening to harmony and keeping a smooth melody over the top. More detailed counterpoint is evident in Grisse his delight, An Almaigne and Alman (vol.1) with melodic lines being introduced in up to three lines as well as supporting harmony. This is such valuable experience for the developing guitarist as we are so used to thinking vertically. Here we can learn to find, sing and highlight the different melodies and the resulting phrasing, dissonances and musical drive are fantastic.

Volume 2 also includes a range of pieces reaching to a higher level than the first volume. I particularly love the Volt and Currant, musically simple with great drive and technically tricky with a fast melody over a repeated arpeggio in the bass – learning what it is like to be more than one musician on one guitar! Go From my Window and Fortune introduce the idea of F# tuning which allows the fingering to follow how it would have been played on the lute.

There is a lot of detail in this music but also loads of spirit, movement and fun. From an early stage it particularly teaches us to listen and on a technical level is especially good for the left hand developing independence and flexibility across the strings. I will certainly be bringing these into my teaching. The music may be very old but it is some of the best and accessible from an early stage. It may not seem trendy but that doesn’t matter because it is great fun to play!

Selina.

74

Le Petit Livre de Guitar Vol. 2

Claude Gagnon

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A collection of 25 pieces from the Renaissance & Baroque eras arranged for solo guitar by Claude Gangon. Featuring composers such as Milan, Tourdion, Galileo, de Visee & Bach. This is an excellent book for the aspiring student.

Skill Level
Beginner
Intermediate

I must admit to particularly liking this little book as it highlights the music that I really love!

This music is tuneful and rhythmical and in my experience students really enjoy playing the pieces while learning a lot both musically and technically.

The printing and layout is very clear and fingering seems to have been kept to a minimum contributing to the uncluttered look and "readability".

The choice of music is excellent introducing the stylistic features of the period, for example the "divisions" that shaped the music of the Renaissance, in good arrangements and transcriptions.

In particular this music introduces students to ‘counterpoint’ – two or more melodies played at the same time – starting with melody and simple bass and working up to more complex music by Milan, Dowland, de Visee and Bach.

The progression of difficulty is clear through the book with the D minor Prelude by Bach an important and satisfying goal to aim for at the end. This is one of my highlights; others include Pavane by Milan and the Saltarello by Galileo which has been a favourite piece of mine since first playing it as a child.

I would put the music here at a grade 3 to 6 standard, and I think it is invaluable repertoire for aspiring guitarists, definitely encouraging further exploration into these styles.

Selina.

musplaypiazzolla

Play Piazzolla

Astor Piazzolla

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Play Piazzolla is a unique collection of 13 tangos by the Argentinian master of tango nuevo, arranged for easy solo guitar. The pieces have been skilfully arranged by Gary Ryan so that this wonderfully vibrant music can be easily enjoyed by younger guitar players.

Skill Level
Intermediate

This book is a fantastic addition to the guitar repertoire as it opens up the wonderfully vibrant music of Piazzolla to a much wider audience, encouraging a more rhythmical, yet "freer" style of playing and increasing the variety of musical styles available to all players.

Gary Ryan's arrangements are very skilful, in that no sacrifices in musical content are made for ease of playing.

The music immediately transports you into the world of Piazolla's Argentine tango with syncopated rhythms, drama, excitement and his distinctive harmonies.

The use of voicing is particularly effective and offers a real challenge to the player to be able to make the separate melodies sing along with each other!

I loved the walking bass in Overture (2) with the snatches of melody above giving a feel of the different instruments in the band. Ausencias and Mumiki require a lot of freedom and feel of improvisation and the syncopation between voices in Milonga is great fun.

I particularly like Milonga for Three, which has a bass rhythm to be maintained throughout, and contrasting textures, which go from dissonant and brooding to lighter chords and insistent driving rhythms.

There is so much to enjoy and to work with in this volume, developing important skills whilst enjoying some excellent music. I would say an essential book for all guitarists from grade 4 upwards.

Selina.

musbachcello

Bach Cello Suites 1 to 4

J. S. Bach

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

Selina.

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musabtheory3

Music Theory in Practice, Grade 3

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 3 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Skill Level
Beginner
musscarlatti

Scarlatti for Guitar

Domenico Scarlatti

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It is great to see these two collections being published, as the music is often difficult to find and choose when students reach the technical level required.

Skill Level
Intermediate

It is great to see these two collections being published,as the music is often difficult to find and choose when students reach the technical level required.

I was especially impressed with the Weiss collection where the 10 movements chosen (from a huge repertoire of suites) work very well as stand alone pieces and transfer beautifully onto our 6 string classical guitar, without the player having to perform too many acrobatics and without losing the musical flow.

It is very important to introduce the repertoire of these two composers to guitarists as soon as possible. Weiss because he was a contemporary of Bach and wrote pieces of high quality and, arguably more suited to the guitar, and Scarlatti whose harpsichord music helps to develop a feel for the Spanish Baroque style where the guitar can recreate the textures of the harpsichord very well.

The editions are clearly set out and printed with excellent historical notes at the beginning of each volume. These notes are very informative and useful for the technical and musical interpretation of the pieces.

For the Scarlatti there is some background for individual pieces, as well as musical ideas and explanation of ornaments.

For the Weiss there is a more general history of how he wrote for the Baroque Lute developing the instrument to include 13 courses, and of his main format for composition, namely the suites of dance movements.

I particularly found useful the explanation of the Prelude or Fantasia, a form represented in the first piece in this book.

The Scarlatti pieces all fit the guitar well although the last two are technically complicated. My favourites are 3, 5, 6 and 7 from which I felt I could really get a lot of musicality, texture and rhythmic drive.

All of the Weiss movements are lovely with a lot of contrast to be found between pieces. The player can get a real feel for the dance styles and sophisticated harmonies that Weiss used. My highlights are the Rondeau and Sarabande (5 and 6), Paysanne (8) and Courante (9).

The only thing that I would like to have seen less of in these editions is fingering, especially for the left hand. The music is complicated and it is nice to have fingering advice but I found that it hindered my initial reading of the pieces and so it ended up taking me longer to become fluent!!

It is good for students and teachers to work out the best fingering for themselves through trial and error - in my experience you learn more thoroughly and have a better understanding of reading and technique this way.

Overall, this is excellent source material for any guitarist, not only to be used for exams but as essential repertoire. It is also beautiful and detailed music that all will be able to enjoy learning and mastering.

Selina.

giuliani-sonatas-op-71

Giuliani 3 Sonatinas OP.71

Mauro Giuliani

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First published by Cappi in Vienna in 1816 and reissued by Mechetti soon after which this edition is based on. Op. 71 is a collection of studies in sonata form and the aim is to train the student in both technical and more importantly stylistic matters. All revisions are clearly marked and an amount of fingering has been added which was not present in the original. As with all UTOrpheus publications, clearly printed allowing for ease of read.

Skill Level
Intermediate
Advanced
317

Trinity Guitar from 2016 Scales Initial - Grade 5

Trinity College London

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Scales Arpeggios & Studies from 2016, containing all the scales, arpeggios and studies required for Trinity College London’s Guitar and Plectrum Guitar exams for Grades Initial–5, valid from 2016. Newly commissioned studies are also included which may be used as an alternative to scales and arpeggios.

Skill Level
Beginner
Intermediate
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.

280

Segovia - Albeniz Transcriptions

Isaac Albeniz

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From the front cover to the back page this is a beautifully printed edition of these wonderful pieces by Albeniz. Granada, Mallorca, Oriental and Zambra Granadina are printed in such clarity with space to allow easy reading of the music. If you love the music then you should definitely try this edition.

Skill Level
Advanced

I think that this is a lovely volume of pieces, firstly because of the historical significance of Segovia as a player and as an arranger. Segovia brought a lot of new music into the guitar repertoire through commissioning and arranging, making a big contribution to the development and success of the guitar in the second half of the 20th century.

Now that our technique and interpretation ideas have moved on these arrangements are often not considered any more. Of course there are so many editions available now and access to original scores is much easier with the internet, but I think that Segovia’s transcriptions are really worth looking at.

The book is very well presented, simple with large, clear print and wide spacing between staves – plenty of room for your notations. There is plenty of fingering but it is not unnecessarily repeated (e.g. in repeated sections) and on the whole it is very good. Do not be afraid to change it as long as you consider the flow of the music! Rather than just giving the guitarist the notes from the original piano Segovia has arranged these pieces to fit on the guitar technically and musically which is quite a skill.

Chord voicing and pitches are obviously going to have to change and it has been done in such a way as to allow the music to flow comfortably under the fingers and to feel and sound natural. Segovia also exploits the natural features of the guitar, which actually enhances the music.

Moving beyond the arrangements the music itself is gorgeous, rich in Spanish character, colour and emotion. I love the beautiful, gentle pulse at the opening of Granada with the contrasting minor section and overall movement and drive in the music. The D tuning in Mallorca gives a wonderful resonance to the bass line balancing the long, soaring melody with comfortable left hand movement over the whole range of the fingerboard. The close position chords in Oriental are fantastic and again fit very well under the fingers creating great textures and musical drive, and the rich harmony and wide range in melodies and chords in Zambra Granadina are just wonderful, particularly for me as I love low notes!

There is no doubt that these pieces are difficult to play and require good technical, rhythmical and listening skills, but they have been arranged for the guitar in a very sympathetic and natural way that gets the best from the music and the guitar making them well worth the effort.

Selina.

musscarlatt_4sonatasUE29149

Four Sonatas UE 29149

Domenico Scarlatti

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Skill Level
Intermediate
mussagreraslesson4-6

Guitar Lessons Books 4 to 6

Julio Sagreras

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One of the most successful classical guitar methods of all time. The studies in each book are carefully fingered and graded. They are charming, melodious and extremely effective with some of the later studies making convincing concert repertoire.

Skill Level
Intermediate
Advanced
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
muswanders3ofakind

three of a kind

Jeop Wanders

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The book has three sections: 10 rhythmic studies, each focusing on a particular rhythm which is introduced in each piece by a 2-bar phrase. 10 arpeggio studies, each based on a right-hand pattern. 10 legato studies, descending and ascending slurs and a mix of both. These studies are a valuable contribution to the beginner's technical development. Difficulty level grade 2/4

Skill Level
Beginner
Intermediate

These short studies offer a wide variety of techniques, and are generally universally helpful in improving your playing.

Grades 2/4 on the site, but looking in some of the grade books I think some grade 1 players would benefit from the easier ones?

The first ten studies are rhythmic, and Wanders gives an ‘example rhythm’ below the title to let us know exactly what it is we are meant to be practicing. As with most books they start off simple and move to more complicated rhythms with dotted notes and semiquavers. This is great for learning to recognise rhythms and improving sight reading; there is also fingering in some of the pieces, reminding us to alternate and to be aware of the finger we are using with any given note. Wanders also reminds us that even though these are studies, they are not necessarily ‘un-musical’. He writes performance directions which encourage us to and add colour to the notes making the music more exciting.

My favourite studies in this book are the arpeggio studies, they are great right and left hand exercises suitable for any standard of player; I will be incorporating these into my practice regime as warm ups! No.12 – Basso Chromatica is particularly good as it offers variations on the original [p i m a] quaver pattern. We are encouraged to be musical with No.14 – Prelude on the B-String in order to bring out the melody that is closely interwoven with the accompaniment. There are a nice variety of styles in this book.

Last in the book are the legato studies. These are excellent for building up strength and balance in the left hand as they require 2 and 3 note slurs that need to be even. They are musically engaging and you will definitely find yourself singing them hours after practice. This book would be perfect as a prelude to starting the Sor or Carcassi studies.

Jess.

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.

guitaristway1

The Guitarists Way Book 1

Peter Nuttall and John Whitworth

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Book one leads to the playing of simple melodies on the top 3 strings, whilst developing a secure technique in both hands. A few bass note are then introduced, followed by pieces which combine a melody with a simple bass accompaniment.

Skill Level
Beginner
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
117

Renaissance Dances

Karl Scheit

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The musician or musical amateur of earlier times used to have a book in which were collected pieces that suited their musical tastes and technical abilities. This edition contains the following dances Allemand, Balletto, Galliard, Pavane and Villanella.

Skill Level
Intermediate
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