Sheet Music

Sheet Music Database

Our Sheet Music database is very searchable using any or all of the following - Composer name, Title, Musical standard, Exam board and Grade of piece both that of the exam boards and also our own Stafford Guitar grading.

Our aim is to not only bring you the up to date exam syllabus but also a selection of music we have enjoyed over our years of playing. The Stafford Guitar grading is to help you when selecting new pieces to learn.

In addition you will find Selina’s review of a piece or book helpful and again these reviews are carried out to help with your choice.

We are also happy to obtain music that we currently do not stock so if there is a book or piece you would like call and we will attempt to find it for you.

Results 97 - 120 of 206

Sheet Music Database

musoneplusvol28

One + One Volume 2 (Teachers Part)

Chanterelle

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

76

Solo Now Volume 1

Chanterelle

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Volume One of the Solo Now! series contains twenty-five original progressive guitar solos for the beginning classical guitarist. Part of the EGTA Series, Solo Now! focuses on development of a stable yet relaxed right hand position while nurturing correct technique for the left hand.

Skill Level
Beginner

The aim of the three Solo Now! books is to provide the elementary guitarist with a progressive and stimulating collection of pieces that specifically develop one of the most fundamental guitar techniques – that in which the right hand thumb and fingers combine to play mainly broken chord configurations using the tirando stroke.

The main principles behind the EGTA series of didactic music are establishing a good, balanced technique while not putting excessive demands on the hands of young players. Much of the 19th century teaching repertoire is focussed on developing the right hand but in doing so does make life difficult for the left hand! In these Solo Now books, the brief for composers was to concentrate on the right hand while keeping the left hand relatively simple.

Volume 1 concentrates on establishing the sense of “placement” of pima over a set of strings and maintaining a relaxed hand shape while playing across the strings. The left hand is mostly limited to placing one finger at a time, and keeps to 1st position.

In volume 2 the right hand is developed to include playing consecutive notes on a single string as well as more difficult arpeggio figurations. The left hand now has more double stopping and extensive use of 2nd and 3rd positions.

Volume 3 has a lot more left hand work including barre and slurring techniques, and movement over the first 5 positions. The right hand has more varied combinations of fingers, as you would find in most pieces, the culmination of the balanced and relaxed hand technique developed in the previous volumes.

When the aims of the books are laid out like this, it sounds like the pieces are going to be very dreary and technical but that is certainly not the case here. Nor are they very contemporary and difficult to interpret! In addition to the technical ideals, musicianship is the key.

There are lots of stories, feelings and pictures in the music with inspiring titles like “Chatterbox”, “Cowboy in the Saddle” and “Aquarium”. In fact, in looking through these books I have come to realise how important a title can be in giving us ideas and feelings to communicate in our playing.

There is extensive use of phrase lines throughout the series, wide ranging dynamics, articulation and musical indications that get progressively more detailed. There are excellent melodies, especially in the bass, and interesting rhythms that are contemporary but easily accessible through the titles.

In volume 1 “Toy Soldiers” starts the series with an excellent marching bass line maintained throughout; the “Stone Circle” requires thought and a picture to capture the majesty and “Three Ghosts” is marked “dark distant and cold”- a real challenge for the player! “Going for a Spin” at the beginning of volume 2 has a lovely, lilting quaver movement with the melody singing from the arpeggios; in “Ducks and Swans” you can really hear the difference between the graceful swans and quacking ducks – great fun! If you close your eyes at the beginning of “Circles in the Water” you can see the widening ripples and “Whirligig” makes you want to dance with a strong pulse and uplifting melody.

The pieces in volume 3 are a lot busier and more challenging but still continuing the original right hand arpeggio ideas within pieces with 2 and sometimes 3 voices. “Wishing Well” has a beautiful, relaxed melody with some scrunchy harmonies and in “Aquarium” you can follow the fish swimming over the arpeggio accompaniment! “Carillon” is a great finale to the series with a joyful stream of semiquavers forming arpeggios and melodies, syncopated bass notes and exciting harmonies.

These are just a few examples from a wide range of pieces in this series that are written with very important technical considerations in mind but also manage to inspire listening and musical invention, and are great fun to play! Ideal early repertoire.

Selina.

134

Triptico

Antonio Lauro

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Lauro's Tríptico consists of three pieces in E minor. The first of these, Armida, is a contemplative canción named after the composer's sister. Madrugada ("before dawn") is an appoggiatura study inspired by one of Sojo's few original works for guitar. La Negra was the nickname of Lauro's niece Armida, the daughter of his sister of the same name.

Skill Level
Intermediate
Advanced

I have played various pieces by Antonio Lauro over the years but never really tried Triptico. In reviewing this I discovered how much more there is in the piece than I had previously found in simply playing through. It is in three movements with loads of variety in rhythm, feel, melody and harmony and is quite accessible to players of grade 6 and above.

In many ways the music is actually quite complex, for example in the way that rhythms are combined, counterpoint between voices, and melodies with a lot of chord movement underneath.

The first movement ‘Armida” acts as a sort of prelude and has a fantastic shifting and swirling rhythm created by one beat of triplet quavers and one beat of normal quavers. Interestingly this rhythm is the same in every bar but the music does not feel at all repetitive. This is because the melody moves between voices sometimes as a single line, sometimes in octaves or thirds giving a lot of variety in colour and texture. By separating the lines you can get an excellent feel for the direction of the music straightaway and start to recognize the detail that is so important. There is a lot of movement around the fingerboard that needs to be smooth and free flowing.

The second movement ‘Madrugada’ is subtitled Cancion Venezolano, a very important clue! Cancion means song but as you look at the page all you see is chords, some of which are quite tricky with some big jumps. Playing the melody helps to build up the shape and feeling of the music while you are learning your fingering. You can also work on the chords separately to give you more opportunity to listen to the lovely scrunchy harmonies. As you look into the detail you will discover that, as in the first and third movements, the melody changes voices, a detail that you need to highlight to bring out the best in the music. The rhythm here is very simple accentuating the long flowing melody that does not want to be interrupted by, but enhanced by the chords.

The third movement ‘La Negra’ is subtitled Vals Venezolano and is a lovely flowing, syncopated and lively waltz, with voices bringing out different rhythms and the pulse shifting between 2 and 3 in a bar, typical of this style of music. Here I would go as far as saying that you cannot play this properly without separating out and playing the individual voices (musical lines).

As you learn the music the overall effect in your left hand is of chord shapes but the music is not chordal in sound. The harmonies are built up and created by the contrapuntal voices, that is the musical lines moving independently. This is a difficult effect to achieve on the guitar and needs a lot of attention for the best results. Working like this also helps you to bring out the individual rhythms and develop more interest and excitement through your rhythm.

Selina.

94

Cavatina

Alexandre Tansman

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Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy. Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

Skill Level
Intermediate
Advanced

The last time that I played part of this suite was when I was doing exams myself too many years ago to mention! It is brilliant to revisit and realize how much there is in the music in colour, texture and expression. In fact since I have started reviewing I am going to be learning and relearning a lot of different and exciting pieces!

Tansman met Andres Segovia in Paris in the 1920s, a meeting that inspired him to write a number of important works for guitar. In 1952 ‘Cavatina’ was a prize winner at the International Music Competition in Sienna, Italy.

Cavatina is a suite of 4 movements written in a style that is ‘contemporary’ (in its time) but also lyrical and, I think, romantic, using rich harmonies and driving pulsing rhythms.

The opening ‘Preludio’ (grade 8) is marked Allegro con moto and has a bright and rhythmical opening section using motifs and patterns that help the ear to learn the style, along with more chromatic writing. The central section is slower with a lovely singing melody line.

The Lento ‘Sarabande’ (grade 7) has a tranquil melody built around a wistful triplet figure with contrapuntal voices and lovely harmonies created from suspended notes and gentle dissonances. I particularly like the long, singing, mellow bass lines – great for shaping and developing tone.

You then have to turn to the final page of the edition for the 3rd movement, ‘Scherzino’ (grade 8). This has a tremolo opening with a subtle build up of tension leading into the Piu vivo that echoes rhythm patterns from the 1st movement. There are lots of left hand patterns, falling sequences and rhythms that cross the bar lines. There is a great, ‘bouncing’ central melody with a fanfare type ending building chords across repeated bass ‘E’s, again echoing the beginning of the suite.

Turning back a page the final ‘Barcarole’ (grade 7) has a 6/8 rhythm, starting ‘dark’ and opening into warmth and light with a lovely lilting movement over the full range of the guitar.

This movement was one of my first experiences of more contemporary music, and a very good one since I have continued to enjoy exploring new music over the years.

It is great that this music is back in the syllabus and I hope that many more guitarists will be adventurous in exploring this classic and important repertoire.

Selina.

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
100

Aquarelle

Sergio Assad

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Single piece for guitar. D Major. 14 pages. Published by Editions Henry Lemoine

Skill Level
Advanced
101

Dyens Mambo des Nuances

Roland Dyens

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Skill Level
Advanced
292

Easy Pieces from Shakespeares Time Vol.2

Karl Scheit

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A characteristic of the musical practices of the time was the freedom with regards to the choice of instrument. Here the editor has brought this same freedom this guitar edition. The volume contains well known and enjoyable pieces such as Toy, Packington's Pond, Kemp's Jig. In total there are 15 pieces to experience and enjoy. 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.

musrealguitar1

The Real Guitar Book Vol 1

Lee Sollory and Nick Powlesland

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A compilation of original plectrum guitar repertoire that sets out to inspire while also developing technique and musicianship. The aim has been to create a progressive selection of pieces that is accessible to relative beginners as well as to more experienced players, the diversity of styles providing something for every musical taste, whether it be blues, rock, classical, folk, reggae, pop or metal.

Skill Level
Beginner

This is a compilation of original plectrum guitar pieces by Nick Powlesland and Lee Sollory designed to inspire players while developing technique and musicianship.

The book uses music notation throughout which is excellent for the young plectrum guitarist, and means that the pieces are just as suitable for classical guitarists providing an excellent variety and contrast in style from the standard repertoire.

The music is challenging in details of articulation, dynamics and phrasing right from the start with the simplest pieces and each piece has a definite character and mood to get into! This is particularly evident in the musical directions which include "aggressively", "punchy", "easily, into the night" and "in a hurry", really encouraging feeling in young players.

The exciting counting and early development of strumming, bends and slides are all important for becoming a "rounded" guitarist and there are some great harmonies, notably in Tomorrow Will Be Better and Tuesday Bluesday.

Selina.

89

25 Etudes Esquisses (Complete)

Gerald Garcia

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This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises, but also as valid, pleasurable concert repertoire.

Skill Level
Intermediate
Advanced

This really is a great volume of pieces. Yes, they are quite contemporary and will probably introduce you to new sounds and musical ideas but they are also very accessible and cover a wide range of technical ability. Best of all they are very specific in their aims and goals and the music is notated in a lot of detail to help with the interpretation.

Each study has an indication of style/ tempo at the beginning such as Mesto, Allegro Comodo, Lento e ritardando and Lento piacevole. We need to know the meaning of these terms! There is also a sub title at the end of the piece that gives us a story line or feeling, for example Flocon de Neige, Les Grandes Jaunes, l’Indigo seul and Voiles rouges. Again understanding the meanings is vital and with the Internet these days there is really no excuse!

There are so many good tunes and interesting rhythms, and the studies are very valuable for technical development. Requirements include detailed chord voicing, fast repeated notes and chords, quick left hand movement around the fingerboard, arpeggio shapes and detailed right hand patterns, slur patterns, intricate articulation and sustaining long singing phrases. The harmonies are fantastic with strong musical direction and momentum guiding the player.

You really have to listen and the music is fingered in a way that keeps you on your toes and keeps you thinking.

For example in no.13 the temptation is to hold fingers down to cover repeated chords but the rhythmic character requires you to let go for clear articulation. When you get it right it creates a brilliantly quirky and fun piece of music. In no. 14 (AB grade 5) the voicing is indicated with stems, sometimes double and sometimes offset, and it is very important to play to these voices and concentrate on holding sustaining notes and letting go of others in the right places. This means that you have to be very aware which of your fingers are playing which notes!

Dynamic control is a highlight throughout the book. In no.3 (AB grade 5, Trinity grade 5) there are long crescendos and diminuendos over the repeated note patterns and changes in mood and key that need to be reflected. Slurring technique is well covered, which is great since it seems to be one of those techniques that we just do rather than learn.

From the lilting melody of no.4 (AB grade 7, Trinity grade 6) and the haunting mood of no.20 to the vivace slur patterns in no.7 (Trinity grade 4) and the rhythmical and complex no.17 where the slur pattern is often in the middle voice needing great technical control, there is certainly enough variety to keep your interest and so improve your technique. No. 22 is one of my particular favourites as it uses only a single written line but implies many voices and is excellent for phrasing and interpretation.

There is not really enough space here to talk about every study but I hope that I have been able to inspire you to play this music. It works on just about every technique that we need in a fun and engrossing way, so that you do not feel as if you are working on technique. Even more importantly it develops your reading and interpretation skills, it makes you think about technique related to music and it is completely satisfying!

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.

musrealguitarvol2

The Real Guitar Book Vol 2

Lee Sollory and Nick Powlesland

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A range of fabulous educational and concert guitar music by the UK's top guitar composers, educators and performers. All of the music in the Real Guitar Book is suitable for both classical and plectrum style techniques

Skill Level
Beginner
Intermediate

The Real Guitar books evolved after a frustrating and largely unsuccessful attempt to find exciting and challenging music for a new generation of solo guitarists.

These original pieces certainly fit this billing of exciting and challenging!

They were written to suit both classical and plectrum players and really push the boundaries in rhythm and harmony, encompassing styles such as rock, blues, folk and classical, and giving players music that really comes alive when played properly.

The rhythms can be quite difficult to read which is good as it develops reading and encourages a natural feel for the pulse and syncopation.

The pieces use the whole fretboard, with detailed articulation and dynamics, and strumming, bending and muting techniques that may be unfamiliar to classical players but really do help to strengthen and improve technique.

The particular highlights for me are Chillout, Swing Thing, Rockroach and Moonshine probably because they are so successful at emulating their respective styles and make me feel good!

This helps particularly younger players persevere with the classical guitar since it proves that their hard work has also resulted in music that everyone immediately recognizes and enjoys.

Players are no less challenged by this music especially in reading complicated rhythm and learning the fretboard.

All in all an excellent technical and musical experience with pieces that are great fun to learn and play.

Selina.

guitaracademy3

Guitar Academy Book 3

Richard Corr

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Book 3 maintains the thorough and wide-ranging approach established in volumes one and two. Classical guitar techniques and repertoire are developed and supplemented by styles and techniques from various popular styles. Musicianship is encouraged through ensemble, ear training and improvisation.

Skill Level
Intermediate
Advanced

This excellent tutor has now been divided into smaller volumes that are more manageable for the student. They still contain a lot of music and information, especially as the difficulty increases, but they are very well presented, cover many areas that others miss, and provide clear explanations without being too "wordy".

The books as a whole are accessible to all ages and would be suitable for adults to work through without a teacher (although this is never ideal!). The pictures illustrating technique are first class and there are constant references to maintaining good technique throughout each book including revision pages and tests. Each book follows a similar format beginning with a quick reference page and introduction, followed by a classical section, ensemble section and final chord section.

The structure and layout helps the student feel that they are learning something new and exciting on every page, even if it is only a game based on what they have already learned. This is very important for maintaining interest and momentum, especially for younger children. The many ideas for improvisation, ear training and theory are fantastic and so helpful for me, as a teacher who struggled to produce my own material while teaching such short lessons in too many schools! By bringing all of these elements together in such an easy way Richard Corr has produced a fun tutor that is helping to develop musicians, not just guitarists! It is a tutor that I highly recommend and will use - a breath of fresh air!

 

The introduction to this volume explains that you are now moving on to more advanced repertoire and techniques, and what this entails e.g. regular practice and care in matters relating to technique and most importantly, commitment and performance!

The revision page is followed by a brief history of the guitar with photographs of instruments through the ages, and mention of important composers, players and makers right through tp the birth and rise of the electric guitar. I think that this is a great idea as it takes the learning process beyond just learning to play a few notes or chords on a guitar.

The subjects covered in book three include left hand positions up to seventh, articulation, more complicated rhythms and key signatures including minor keys, damping with the thumb and slurs. Most importantly the book includes a lot of music to play! There are excellent original pieces by Richard Corr along with classical repertoire, easy arrangements of more difficult works and popular tunes from all styles of guitar playing. The chord supplement introduces different chord styles and theory, something that a lot of students learning to play chords simply miss out on altogether.

Selina.

 

212

The Real Guitar Book Vol 3

Lee Sollory and Nick Powlesland

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The Real Guitar Book project evolved after a frustrating and largely unsuccessful attempt to find exciting, challenging music for a new generation of solo guitarosts who were not interested in the classical approach. The result is this compilation of original repertoire that sets out to inspire while also developing technique and musicianship. The aim has been to create a progressive selection of pieces that is accessible to relative beginners as well as more experienced players.

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.

517

Music Theory in Practice, Grade 8

ABRSM

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Covers all aspects of the Grade 8 Theory of Music examination. Gives detailed advice on ways in which the examination questions might be approached. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Skill Level
Advanced
musscarlatti3sonatas29158

Three Sonatas UE 29158

Domenico Scarlatti

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Scarlatti sonatas were first collated and catalogued by Alessandro Longo. Much later the harpsichordist Ralph Kirkpatrick re-ordered the sonatas in what he deduced to be their chronological order. Kirkpatrick deduced that Scarlatti intended a large portion of the sonatas to be played in pairs. Of the sonatas in this book the first two form a pair and should be played together. The third K.208 has been added as it is the most beautiful of Scarlatti's sonatas.

Skill Level
Intermediate
Advanced

Scarlatti’s music is very effective on the classical guitar having originally been written for the harpsichord, which, even though it has a keyboard, is a plucked string instrument. The choice of pieces here is great.

he first two pieces are less well known whereas the third is probably one of the most popular of Scarlatti’s pieces on the classical guitar.

The music has lots of space around it on the page which I love as it allows room for fingering and notes without becoming cluttered.

There is a short but excellent forward giving you a great insight into how Scarlatti’s works have been catalogued and ideas for performance. Reading this only takes a couple of minutes but is very important as it gives a little insight into how to play this style of music and opens the door for further investigations, something that we really should do when learning any new piece. There is also an explanation of notation and fingering used in the edition.

I particularly like the first piece, with lovely counterpoint between the two voices, interesting and offbeat rhythms in the opening Cantabile and a contrasting light and bright ‘Allegrissimo’ in 3/8, and great feel of movement and development throughout.

The second piece is given a steadier feel by underlying crotchet pulse using repeated basses beneath a rhythmically flowing and often complicated upper voice with some wonderful dissonances.

The third piece is one of his most beautiful, fitting perfectly on the guitar with its strong steady bass and lovely rise and fall in the long sustained phrases.

Playing this music is great for guitarists teaching us a lot about shaping melodies by listening to the effect of intervals and tension created and resolved.

Selina.

musabauralcd2

Aural Training In Practice CD Grades 4 to 5

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
Out Of Stock Enquire
332

Variations on a theme by Handel Op. 107

Mauro Giuliani

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Also known under the title "The Harmonious Blacksmith" this edition by Fabio Rizza is clearly printed with space between lines enabling the reader to easily read and also to add study markings without cluttering the page. A fun piece to play.

Skill Level
Intermediate
Advanced
3314

Selected Studies for Guitar Vol. 1

Mauro Giuliani

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One of the two most important guitarist-composer of the first half of the 19th century Giuliani excelled as a teacher. Giuliani understood where the guitar can be brilliant and where it lacked power and was able to mix together the requirements for teaching and the creativity of music. A definite yes for any student guitarist.

Skill Level
Intermediate
Advanced
musabauralcd1

Aural Training In Practice CD Grades 1 to 3

ABRSM

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Old Syllabus - for practice only. Aural Training In Practice provides clear, structured guidance for candidates preparing for the aural tests in the Associated Board's practical exams. These CDs accompany the Aural Training workbooks. I have used the book and CD with many of my pupils achieving great success. I highly recommend both for those wishing to achieve high marks in their graded exams.

Skill Level
Beginner
mustakemitsutwilight

All In Twilight

Toru Takemitsu

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These Four pieces for guitar were commissioned by Julian Bream and dedicated to him. The first performance was given by Bream on October 9th 1988 in New York. The duration of this work is 11 minutes.

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
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.

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.

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