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 145 - 168 of 249

Sheet Music Database

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
mussimplyguitar1

Simply Guitar Book 1

Vincent Lindsey-Clark

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Book 1 offers a structured programme of easy repertoire for the beginner. The selection of pieces is designed to develop guitar technique, improve reading skills and most of all encourage the ability to perform with musical feeling.

Skill Level
Beginner
81

Simply Swing

Vincent Lindsey-Clark

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

Skill Level
Beginner

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

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

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

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

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

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

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

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

Selina.

158

Simply Latin

Vincent Lindsey-Clark

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Simply Latin evokes the sounds of South Americcan folk music. These six sketches take the player on a tour of the Andes, Venezuela, Brazil capturing in simple musical textures the exuberance and complexity of some of the South American folk cultures.

Skill Level
Beginner
Intermediate

The fantastic thing about this book is that it produces so much variety within the "Latin" style.

To quote the edition, these pieces..

"…take the player on a tour through the Andes, Venezuela, Brazil….capturing the exuberance and complexity of some of the South American folk cultures."

Again, Clarke manages to communicate so much through relatively simple musical textures, and, importantly, introduces younger players in particular to musical styles that they may not have experienced before.

 

The Vals actively encourages you to go to play Lauro's music. There is a real swing and feel of one in a bar while keeping the chords simple and easy to combine with the melody.

The Tango is full of the drama of the dance, heightened in the middle section with big moves between positions that sound great and are easy to play.

Montanas Nebulosas evokes the music of the Andes beautifully, making use of glissando and tambora techniques. The syncopated rhythms are clearly written and easy to understand.

My absolute favourite in this book has to be Rio by Night! This piece uses great harmonies and syncopated rhythms that take a bit more working out and counting, but are certainly worth the effort for the finished effect and atmosphere. You simply get carried along by the gentle Bossa Nova and transported to the carnival!

The final Danza also requires more careful control of rhythm and articulation, and buzzes with excitement and energy.

Selina.

musparkinsonleapfrog

The Leap Frog Principle

Rob Parkinson

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This book has been around for a number of years and it is one that I keep returning to, finding more that I like and want to include in my teaching and each time enjoying the fresh and unusual style of the pieces. I am particularly attracted to the sub title - "10 Popular style guitar studies for adventurous learners"!

Skill Level
Intermediate

This book has been around for a number of years and it is one that I keep returning to, finding more that I like and want to include in my teaching and each time enjoying the fresh and unusual style of the pieces. I am particularly attracted to the sub title - "10 Popular style guitar studies for adventurous learners"!

There is a very informative preface in which the composer puts forward his ideas behind the music which are very much to do with technique and ways to learn within fun and entertaining pieces. He describes his "Leapfrog Principle" as a notion to "use scale patterns against open strings, avoiding complicated chord fingerings..." . He then goes on to describe the advantages that this limitation has, for example making the music comfortable to play, extending fingerboard knowledge, improving position changing and encouraging efficient fingering in both hands, as well as introducing the idea of improvisation.

The pieces are clearly laid out, with a short introduction to every piece that has some technical information and help but is mostly there to describe the story of the piece! For example for no.2 "The Whistler's Tune" he has written: "People who whistle often don't remember all of the tune. This piece is ideal for whistlers because there are only a few bits that keep repeating. However in bars 21 to 28, the whistler still manages to forget the first phrase and tries to find it in different registers before eventually getting it right on the da capo."

All of the pieces are great fun using Giants, Butterflies, Genies, Grasshoppers and Ponies to bring out the contrasting characters really helping you to get involved in the music. Initially the written music does look quite challenging with quite difficult rhythms, lots of syncopation, a wide range of pitch and a lot of accidentals. Although the rhythms do look complicated on the page many will be familiar from everyday musical styles, e.g. swing and blues. The most important thing here is to get the feel of the pulse of the music. Once you can count and feel this, everything else tends to fit into place nicely!

As the composer says "a strong pulse is more important than strict accuracy, and a free, improvising rhythmic spirit should be encouraged."!

All of the pieces are very melodic with the melody often moving between the bass and the treble registers and any chords are usually small and mostly using open strings. Confidence in position changing and reading higher notes is important, although the melodies are based around patterns of fingering in different places so easier than they seem at first.

To return to the first example of The Whistlers Tune the last 2 lines consist of an identical finger pattern played in 4 different positions. However we always recommend that you can name the notes that you are playing, vital if you want to become a fluent and musical classical guitarist.

My favourites are Giant Jive, because it is wonderfully strange with a fantastic bass riff and some great clashes, and the Butterfly Boogie which has a light dancing feel and a warm character. A special mention is needed for Waltz for Two Left Feet,(definitely me!) as it is a real challenge to get the changes of beat but once you have mastered that you almost catch yourself tripping over as you play - a great idea and very effective.

These are great little pieces, inventive and fun while challenging your fingers and your brain. Perfect for beginners moving on and for better players wanting some entertaining performance pieces or simply wanting to brush up on those basic skills! If you are relaxed with the position changes and rhythms here you can try anything!

Selina.

87

Simply Spanish

Vincent Lindsey-Clark

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

Skill Level
Beginner

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

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

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

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

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

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

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

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

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

Selina.

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.

39

Guitar Exam Pieces CD Grade 2

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
Beginner
musponce12preludes

12 Preludes

Manuel M Ponce

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This is what I would describe as ‘classic’ repertoire, from a composer who did an awful lot towards exploring new possibilities in composing for the guitar and widening the repertoire during a vital period in the guitars history and development. This is rewarding and essential repertoire that I hope many people will find and enjoy. Arranged by Andres Segovia, edition covers 16 pages. Published by Schott Music.

Skill Level
Intermediate
Advanced

This is what I would describe as ‘classic’ repertoire, from a composer who did an awful lot towards exploring new possibilities in composing for the guitar and widening the repertoire during a vital period in the guitars history and development.

I am disappointed in myself for not having learnt to play these preludes sooner! They are lovely little miniatures with loads of musical detail and technical challenge packed in to pieces that individually last for 2 to 3 minutes but are still very rewarding to play and to listen to.

Very importantly they represent excellent opportunities for improving music reading and knowledge of the guitar fingerboard through exploration of key signatures and freedom of movement between positions. The keys range from C major to A flat and F sharp major, in other words up to 4 flats and 6 sharps. This is very good for guitarists, taking us out of our comfort zone and forcing us to use different and varied positions and to learn the geography of the fingerboard. As you play the Preludes you quickly discover that there are patterns in every key and if you name your notes and work out the patterns the, at first, seemingly uphill task of reading some of the music becomes fun and in fact very rewarding.

This variety of key signatures and the range of pitch used throughout means that the fingerboard is used in a very fluid way without blocks of notes in positions but constantly changing and also using all 6 strings in the higher positions rather than only the high notes.

For me this is a vital skill for a guitarist, one that gives you freedom of technique as well as musicianship. When learning pieces like these properly it does not take long to learn your fingerboard and become comfortable and at ease moving around.

There are a wide variety of tempos and emotions across the 12 pieces. Some have a more contemporary feel although I think that the majority are very melodic and full of character and storytelling.

Despite being small the Preludes have detailed musical requirements on the score with very clear rhythm and articulation, for example in the use of rests and rhythms crossing bar lines as well as important distinctions in voicing and counterpoint.

There is also a great deal of contrast from the tranquil and flowing lines of no.1 to the lively and bright fast movement of no.2. No.6, probably one of the best known, has a really beautiful, soulful and expressive melody set within a pulsing strummed chord really exploiting the tenor richness of the guitars inner strings, whereas no.8 has a continuous and fluid musical line in a lilting 9/8 time signature with the added challenge of 4 flats!

Particular highlights for me are no.9 which has a wonderful lightness and uplifting feeling with warm and almost ‘oriental’ harmonies forming from the semiquaver intervals, and no.10, a beautifully delicate and intricate sounding piece which is relatively simple to play.

The key to the enjoyment of these pieces is the combination of technical and reading challenges with the storytelling and freedom of expression required.

For me this is rewarding and essential repertoire that I hope many people will find and enjoy. I certainly intend to learn and record them so watch this space!

Selina.

musGiulianiSonataop15

Giuliani Sonata OP.15

Mauro Giuliani

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This is one of those pieces that, throughout my time as a performing guitarist and teacher, has often been criticized for being either too long or boring and put aside for more ‘obviously’ challenging and exciting pieces. In fact I think that the 19th century repertoire in general has suffered with the great influx of modern repertoire and, particularly, crossover styles designed to attract younger players to the classical guitar and hold their interest. Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

Skill Level
Intermediate
Advanced

This is one of those pieces that, throughout my time as a performing guitarist and teacher, has often been criticized for being either too long or boring and put aside for more ‘obviously’ challenging and exciting pieces. In fact I think that the 19th century repertoire in general has suffered with the great influx of modern repertoire and, particularly, crossover styles designed to attract younger players to the classical guitar and hold their interest. Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

Don’t get me wrong – it is fantastic that there is so much more music available to us in a wide variety of styles, I just wish that composers such as Giuliani had a higher profile today since their music teaches us so much and helps to build the foundations of a good player.

Of course a Sonata in three movements is not something that guitarists come across very often. Giuliani wanted very much to put the classical guitar on to an even footing with classical music in general and so used classical ‘forms’ in his compositions and arranged music by (and used themes from) Rossini and Beethoven.

Playing this piece really gives us the opportunity to get involved in the Classical style, do a bit of research – the internet these days makes that so easy – and find so much more in the music. All the basic guitar techniques are required here but getting around the notes and the fingering is not enough; doing that is when the piece becomes ‘dull’!

Allegro Spiritoso is an excellent title for the first movement. It is light and bright with wonderful texture and musical drive. Traditionally the first movement of a Sonata was composed in sonata form, consisting of three sections – exposition, development and recapitulation. In the exposition the composer introduces the musical ideas as a number of themes. The material is then ‘developed’ in the development section and then the exposition is repeated and modified in the recapitulation. Just knowing this basic outline gives you so much to look for in the music and your playing.

The main theme is played over an accompanying figure, alternating ‘p’ ‘i’, quite a challenge to achieve the required balance and very effective. Articulation is very important throughout with slurring in particular giving shape and character to melodies and connecting phrases. Often the melodies move in consecutive intervals, that is, passages in thirds, sixths and octaves, which give different levels of drama, tension and direction to the piece.

I particularly like the climax created by the changing harmonies over a repeated D leading towards the second theme, and a new key.

The Development is simple but very effective with the minor key changing the mood and rising arpeggios in triplets and big repeated chords adding to the momentum and excitement, ultimately leading us into the recapitulation, repeating and developing the original theme.

The second movement, Adagio con espressione, requires great control, sustain and subtlety. It is difficult because it is slow and we have to learn to sing the melodies to sustain the direction and meaning of the music, highlighting the importance of breathing for guitarists!

One of the themes here is a high melody flowing over low, repeated chords consisting of alternating thirds and seconds. This is pretty tricky technically and musically! Giuliani is definitely asking the guitarist to play like a small orchestra resulting in a lovely, melancholic feel but needing plenty of patience! There is some lovely decoration in this movement with varying rhythmic movement and delicate shaping of the melodies, finishing with an echo of the main theme from the Allegro.

The third movement, Allegro Vivace is lively and sparkling. It is the most straightforward, providing an exciting, rhythmical, bustling feel to finish off the whole piece. Lots of nice, simple arpeggios, sharp staccato chords and accents contrasting with long, smooth melodies over ‘alberti’ bass patterns, that is alternating ‘p’ ‘i’ in the bass.

The ending however is quite subtle, dropping down in dynamic and making the most of rests and pauses before the final ending chords.

This piece works best if you can use your imagination and really listen to the different textures and emotions in the music.

Be a little orchestra and create different colours as the music changes, recognize the textures that come from the way the notes are written, for example intervals, alternating or repeated notes, chords or arpeggios, rests, slurs and simple melodies.

It is great fun and you do not have to know a lot about the changing harmonies and structure (although this is also fun!) – just use your ears and build up your own musical picture.

Selina.

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
115

Homenaje Le Tombeau de Claude Debussy

Manuel de Falla

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After the death of Debussy in 1918 Falla was asked to contribute to the planned memorial issue of Revue Musicale. Originally asked for an article Falla preferred to respond with a piece of music.

Skill Level
Advanced
muswanderslaguitarraespanola9

La Guitarra Espanola

Jeop Wanders

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This is definitely a book I wish I’d been introduced to earlier! These simple Spanish pieces are beautifully printed making for easy reading by the student. 15 pieces, including Rumba, Pasodoblillo, Bolero and Malaquena, are an enjoyable introduction to familiar guitar styles.

Skill Level
Beginner

This is definitely a book I wish I’d been introduced to earlier!

Joep Wanders has written music in a variety of styles for beginners; the theme of this book as revealed by the title is Spanish music. In addition to writing music that conforms to the Spanish style, Wanders incorporates flamenco techniques into the pieces – you will find a number of examples of golpe and tambora. In my mind this makes the music infinitely more interesting to learn as you immerse yourself in unfamiliar percussive techniques.

On the contents page Wanders has included a helpful glossary to describe any unfamiliar words to the reader.

The book contains 15 pieces that become progressively more challenging, however the music is engaging from the off. Entrada Libre begins the book with a catchy melodic line that is easy to bring out and contains a couple of ad libs for those who want to expand even more on the music. El Testamento de Amelia is more lyrical with an interesting syncopated bassline. Flores de Primavera and La Fiesta Espanola highlight the right hand technical issue of adding strummed chords to a piece, and La Guitar Espanola consists of variations on a simple upbeat tune to shake the music up a bit. Wanders has also written in a variety of Spanish dance styles that feature syncopated rhythms (Tango, Bolero, Rumba) and keep your eyes peeled for a familiar tune - but I will leave that one with you.

Despite this being a beginners book there are plenty of examples of musical variety and interweaving musical lines, encouraging us to pay close attention to which “voice” is singing and concentrate on how we can bring them out. The result is 15 pieces of music that will continue to engage both listeners and players, even as the player advances through more difficult music. One to add to the collection.

Jess.

296

Bach Lute Suites for Guitar

J. S. Bach

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The complete works for lute solo newly transcribed and annotated, including historical and performance notes. This publication is very nicely printed with space between lines and around notes so for those of us who either wear or should wear spectacles it makes life a lot easier. This edition is Selina's favourite and in her opinion the best!

Skill Level
Intermediate
Advanced
311

Trinity Guitar 2016-2019 - Guitar Grade 5

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
120

The Guitarists Hour Book 1

Schott

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An Hour with the Guitar presents a careful selection of the most beautiful pieces of guitar literature. All the names familiar to every professional and amateur guitarist - Aguado, Carulli, Carcassi, Coste, Giuliani, Sor, and many more - are represented in this collection and ensure much stimulating variety. These pieces, with grades of difficulty progressing from very easy to moderately difficult, will give not only the beginner but also the advanced guitarist some valuable material for teaching, entertainment and performance.

Skill Level
Beginner
Intermediate
mustrinityaural1

Aural Book 1

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
Beginner
Intermediate
132

The Guitarists Hour Book 3

Schott

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An hour with the guitar presents a careful selection of the most beautiful pieces of guitar literature. The pieces contain in the book progress from easy to moderatly difficult giving not only the beginner but also the advanced guitarist valuable material for teaching, entertainment and performing.

Skill Level
Intermediate
Advanced

I remember well the Guitarists Hour books from when I was young and I know that I gained a lot from playing a this repertoire! The problem is that there is so much choice in the 19th century repertoire and, yes, there are inevitably some ‘ordinary’ pieces. However there are also many excellent, exciting and fun to play pieces that always teach you a lot in the process of learning them.

The main strength of this book is that it offers choice and variety within the 19th century, introduces new composers and gives an overall snapshot of the repertoire so that players can then make informed choices and don’t necessarily have to buy lots of books to find music that they enjoy.

I have had brilliant fun playing through these pieces, several times now! There is so much drama, excitement and colour in the music with a good cross section of composers to compare. The added bonus is that you are learning a great deal as you play.

The 19th century was the beginning of the classical guitar; although the proportions of their instrument were quite different, the composers of the time started to lay down the techniques that are so important as a foundation to modern technique.

I firmly believe that without the ‘grounding’ that the 19th century repertoire gives us we cannot fulfill our technical potential in other styles of music. For example basic slur technique, scale and arpeggio playing, movement in thirds, sixths, octaves and tenths – intervals that are fundamental to the way we voice harmony and fluid movement around the fretboard.

The opening ‘Galopp’ by Carulli is full of drama and joy, contrasting beautifully with his lyrical ‘Alla Polacca’. Molino’s ‘Menuett’ has more detail in the harmony, introducing double slurs while the ‘Menuett’ by Matiegka contrasts strong rhythm in the opening section with delicate three part writing in the trio. These two composers are not as well known to us - a welcome inclusion in this volume.

The ‘Allegro’ by Aguado employs very free and quick movement around the fretboard emphasizing musical intervals, with a wider use of ornamentation.

Mertz is one of my very favourite composers and the ‘Polacca’ (grade 8) and ‘Capriccio’ are great examples of his music. Both are full of drama and ‘theatre’, the ‘Polacca’ in light, bright and lilting way and the ‘Capriccio’ using insistent repeating notes, accents and off beat melody to give drive and energy. These really are pieces with which you can “let rip”!!

Giuliani’s music is very free flowing and rhythmical; ‘Sonatine’ (grade 6) produces a sense of grandeur with the octaves and rests in the music, and the ‘Capriccio’, stands out for me in the way that the melody is within the arpeggio changing from bass to treble and running all over the fingerboard.

The ‘Andantino’ by Coste is particularly demanding as no concession is made for the difficulty presented by a lovely, decorated melodic line and very big interval jumps between chords. His ‘Studie’ (grade 7) is strong and dramatic with a great motif in the bass accompanied by full chords. Sor is perhaps the most famous and prolific writer for the guitar in this period and there are 7 of his pieces here showing the variety in his output and depth and fun to be found in his music. I particularly like the light, cheerful and quite cheeky ‘Hunting Piece’ (grade 6) in which the hunting horn can be clearly heard and the ‘Galopp’ which is very true to its name! His ‘Rondo’ (grade 8) is a longer piece that is more ‘virtuosic in tempo and flair with moving thirds, very quick semiquaver rhythms, free flowing arpeggios and an almost orchestral build up to the final cadence.

All in all an excellent volume of music that is very important to guitar students, not least for performance practice.

By the time that you have worked through these pieces you will have mastered so many basic techniques, as well as learning to hear and highlight melodies through arpeggio texture, control the projection of individual voices so gaining right hand balance, and perhaps most importantly learnt to “let your hair down” and enjoy the theatrical side of the music!

Selina.

aguado27studies

Aguado 27 Studies for Guitar

Aguado

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Edited by Gianluca Allocca, published by UTOrpheus with a forward by Angelo Gilardino. A range of books of which this is one are beautifully printed, very easy to read making a good addition to ones music collection even before one considers playing the studies. This publication is from the third part of the Aguado method and is the most important.

Skill Level
Intermediate
Advanced
musabauralcd3

Aural Training In Practice CD Grades 6 to 8

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
Intermediate
Advanced
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
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
328

36 Caprices Op. 20

Luigi Legnani

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In the varied world of the 19th century guitar Legnani was an inspired and prolific composer. Initially trained as a violinist he became famous as a guitarist and was held in great esteem by Paganini. The Caprices were first published in 1822 with each having a defined character and some are outstanding examples of pure virtuosity yet with emotion and spontaneity.

Skill Level
Advanced
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
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