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.

Sheet Music Database

giuliani-le-avventure-di-amore

Giuliani Le Avventure di Amore OP.116

Mauro Giuliani

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CH 52 - Written for 2 guitars. 10 Waltzes, publication consists of Score and Parts, clearly written making for ease of reading. Great music that allows you enjoy with a partner.

Skill Level
Intermediate
Ensemble
  • Containing
  • L'Invito al ballo
  • L'Affetto
  • La Dichiarazione
  • Il Rifiuto
  • Il Dispiacere
  • La Disperazione
  • La Partenza
  • Il Pentimento
  • Il Ritorno
  • La Pace
bach-french-suite-no1

Bach French Suite No.1

J. S. Bach

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BMV 812 - Written for 2 guitars this transcription has kept to the critical edition of the French Suites published by G. Henle Verlag. The only changes to the original text involve adopting new keys more suitable to the technical requisites of the guitar. Some fingering has been added to the individual parts and all the original phrasing and ornaments have been reproduced in this edition.

Skill Level
Intermediate
Ensemble
bach-inventions-1-7

Bach Inventions Vol 1 1-7

J. S. Bach

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BMV 772 - Written for 2 guitars. Transcribed by Mario Martino & Andrea Schiavina. As with all UT Orpheus publications this edition is very clearly and cleanly printed which really helps when sight reading ensemble pieces. Music written by Bach, what more can I say, if you have an interest in playing ensemble which in my opinion you should at least try, then these Inventions are fun and challenging.

Skill Level
Intermediate
Ensemble
bach-inventions-8-15

Bach Inventions Vol 2 8-15

J. S. Bach

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BMV 773 - Written for 2 guitars. Transcribed by Mario Martino & Andrea Schiavina. As with all UT Orpheus publications this edition is very clearly and cleanly printed which really helps when sight reading ensemble pieces. Music written by Bach, what more can I say, if you have an interest in playing ensemble which in my opinion you should at least try, then these Inventions are fun and challenging.

Skill Level
Intermediate
Ensemble
carulli-duo-op62-no1

Carulli Duo op. 62 no 1

Ferdinando Carulli

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CH 81 - Written for 2 guitars - Carulli, one of the most prolific composers of his century with at least 400 pieces to his name. A pioneer in his field he popularised the classical guitar in Paris where many guitarists came to study under him. This edition, for two guitars, is clearly printed with both score and parts. Fingering is absent which is great as this allows freedom for ones own interpretation.

Skill Level
Intermediate
Ensemble
  • Containing
  • Moderato
  • Romance - Largo
  • Minuetto - Allegro
  • Polonaise - Con poco moto
carulli-duo-op62-no2

Carulli Duo op. 62 no 2

Ferdinando Carulli

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CH 82 - Written for 2 guitars - Carulli, one of the most prolific composers of his century with at least 400 pieces to his name. A pioneer in his field he popularised the classical guitar in Paris where many guitarists came to study under him. This edition, for two guitars, is clearly printed with both score and parts. Fingering is absent which is great as this allows freedom for ones own interpretation.

Skill Level
Intermediate
Ensemble
  • Containing
  • Moderato
  • Largo
  • Minuetto - Allegro
  • Rondeau - Allegretto con poco moto
brindle-etruscan-preludes

Etruscan Preludes

Reginald Smith Brindle

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Four Preludes beautifully written and printed with clear instructions on how to perform each piece. The variety of rhythm mixed with interesting right hand technique makes for a performance challenge that will allow you to not only enjoy performing, it will also help you to develop artistically.

Skill Level
Advanced

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

Do not be put off by this!

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

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

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

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

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

Great fun.

Selina.

sakura-variations

Sakura Theme and Variations

Yuquijiro Yocoh

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Theme and variations on the Japanese folk song Sakura is Yuquijiro Yocoh's most famous work and has been played and recorded by countless guitarists.

Skill Level
Advanced
Out Of Stock Enquire
4-venezuelan-pieces

Four Venezuelan Pieces

Rodrigo Riera

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Rodrigo Riera is a prominent Venezuelan guitarists/composer who attended many summer schools given by Segovia in the 1950's. These four pieces are among Riera's simplest works and are attractive student material at about Grade 4 level. All fingering and slurs in this edition are original.

Skill Level
Intermediate;
classical6

The Classical Book

Chanterelle

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

Skill Level
Intermediate
Advanced

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

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

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

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

Of most interest to me are the comments on fingering.

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

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

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

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

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

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

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

Surely that still applies!

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

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

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

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

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

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

Selina.