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

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
306

More Carols

John Whitworth

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This collection of carol arrangements is aimed at the guitarist who has moved beyond the early stages of playing and who is ready to explore keys such as D, A and E major. The aim throughout the book has been to provide rich resonant settings of the carols, whilst avoiding undue technical difficulties.

Skill Level
Intermediate
Beginner

Following on from First Carols this book presents a lovely selection of nine carols varying from single line and simple two part settings to more sophisticated harmonization using chord shapes in the left hand, arpeggio accompaniment and fuller harmony.

The music helps the player to become more familiar with the key signatures of D, A and E major and makes more use of the fingerboard moving to second, fourth and seventh positions.

At the beginning there is some background to the carols’ origins as well as some technical and performance notes.

John uses harmonics and tambura techniques to great effect in I saw Three Ships and The Huron Carol and there is a lovely ensemble arrangement of Silent Night (one of my favourites).

I love the setting of O Come all ye Faithful where he uses single lines then two part voicing and then three part harmony to capture the feel of the carol building, taking me back to my school carol service with the congregation and choir solos and descants!

There is great contrast and feeling created in I saw Three Ships by simply changing register and moving between one and two voices. I also love the two arrangements of Away in a Manger, firstly with simple, open basses and then, in the second, a D tuning of string 6 and gorgeous harmony in thirds and sixths.

The highlights for me are that second arrangement of Away in a Manger and the Huron Carol which is really atmospheric and evocative, very satisfying, and not too difficult, to learn and play.

At the beginning John states that his aim was “…to provide rich and resonant settings of the carols, whilst avoiding undue technical difficulties…”

He has definitely achieved this with a very worthwhile and enjoyable collection that also manages to teach you lots!

Selina.

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
319

The Guitar Music of Spain Vol 2 Bartolome Calatayud

Bartolome Calatayud

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A series of three volumes containing the very best of Spanish guitar music. Over 50 traditional pieces by Bartolome Calatayud, graded from simple to advanced throughout the book. This the second book in a series of three volumes they contain the very best of Spanish guitar music.

Skill Level
Beginner
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
315

Elogio de la danza

Leo Brouwer

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A much loved and often performed piece that will test your technical and interpretive abilities yet give a great sense of achievement when mastered. The two movements Lento & Obstinato have been clearly printed making for easy reading and page turns are well catered for.

Skill Level
Advanced
309

Trinity Guitar 2016-2019 - Guitar Grade 3

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
Beginner
310

Trinity Guitar 2016-2019 - Guitar Grade 4

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
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
314

Trinity Guitar 2016-2019 - Guitar Grade 8

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
Advanced
308

Trinity Guitar 2016-2019 - Guitar Grade 2

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
Beginner
303

Half Moon

Peter Nuttall

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A set of rhythmic pieces, together with a set of lyrical melodies and cool harmonies. Nostalgic, romantic, blues, stomping! These colourful pieces are beautifully written for the guitar and a delight to play.

Skill Level
Beginner

It is lovely to have a new collection of pieces from Peter Nuttall.

His music is so good for beginner into intermediate players because it is always musical, interesting and has focused technical requirements meaning that the player is not having to think about too many different things at once.

Half Moon is a set of lyrical and accessible pieces, never getting too technically difficult but certainly challenging in musicianship, interpretation and reading and counting rhythms. Peter says in his introduction that “They are written in a variety of styles….and make use of common guitar techniques and idioms. Style is always more important than speed.” This second comment is so important in our development as guitarists, and is something that we often forget in our efforts to improve our playing.

For me the pieces are summed up by the words atmosphere and character. If we keep these in mind then we can have great fun exploring the music, experimenting and listening.

Peter has grouped the pieces into 2 sections, First half – rhythmic, Second half – lyrical. This is an excellent idea for variety and focus in learning and also for programming performance! The idioms that he talks about in the preface are types of guitar writing like arpeggio style that includes melody, a single line melody that incorporates tune, bass and harmony or a 2 voice melody and accompaniment style. He has kept technical requirements very straightforward with no full barres or awkward finger movements.

The time signatures are varied with plenty of tied notes and syncopation (off beat) to keep us on our toes and counting. There are some lovely, interesting and quite unusual harmonies as well always encouraging us to listen.

I love the jazz feel of the triplets in Before you go and the distinctly Celtic feel of The Western Isles which, to look at, is all single notes but creates melody, harmony and bass with a lovely relaxed and sustained feel. The contrasting sections in Jig are great and really give you the feel of the dance whereas in complete contrast, and my favourite, At the end of the day is a beautiful and evocative piece. The harmonies are simple but so effective enabling you to get lost in the music. Perfect!

Selina.

300

Estudios Sencillos

Leo Brouwer

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Etudes simples volume 1 studies 1-5. These are a must for any aspiring guitarist. Leo Brouwer's attention to musical and technical detail stretches the player encouraging expression and freedom of movement.

Skill Level
Beginner
Intermediate

This is definitely a case of good things come in small packages, a classic edition for the classical guitar, unchanged since its first publication in 1972.

The ‘book’ consists of an A5 piece of card for the front and back covers and an A5 piece of paper that provides 4 pages for the printed music, however within this the music is excellent and essential repertoire for any beginner or intermediate guitarist, as well as offering great technical and musical practice for those of us who consider ourselves more advanced.

These 5 pieces are wonderful miniatures packed full of musical and technical detail covering articulation, syncopation, voicing and a wide range of colour and dynamics. The use of descriptive words is also great including “movido’, ‘cantando’ and ‘sonoro’, descriptions that are so evocative and good for your musical knowledge!

There are great bass melodies in nos.1 and 4 with an upper accompaniment of repeated thirds (chords) requiring technical and rhythmical control. The shifting time signature in no.4 gives it lovely flow and overall movement. No.2 consists of very slow moving chords highlighting balance and voicing with some wonderful dissonant and emotional harmonies. No.3 concentrates on rapid articulation and no.5 is beautifully lyrical despite some quirky harmonies and fantastic syncopation.

Great, musical and emotional pieces that really help you to develop your technique.

Selina.

301

Due Ragtimes

Scott Joplin

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Champagne Rag & The Entertainer written by Joplin and arranged by Mario Gangi. Interested in trying something different? then here you are. Good fun, light hearted and great at parties.

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.

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
294

Sonatina Meridional

Manuel M Ponce

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Adapted by Andres Segovia and printed by Schott. Three pieces form the sonatina and here Schott receive top marks for the quality, clarity and layout of the printing which really does make the studying that much easier. The three pieces work well together and the quantity of dynamics helps tremendously with ones understanding of the music.

Skill Level
Intermediate
Advanced

A definate for anyone who likes variety of expression, tone and technique. In this day and age of downloading I still prefer and enjoy a printed book and here the Schott edition is quality paper and quality printing bringing a nice feeling to ones practice time.

The sonatina starts with Campo, with an indication of Allegretto, this, I feel, allows you the emotional freedom to enjoy and interpret the music where if the marking was Allegro the extra speed indication would tend to make the music too fast for the ear to enjoy. Campo offers the player scope to work with tonal colour and to enjoy flashes of technique for both hands. If this is the first time you are stepping up to this level of musical challenge do be careful with the occasional left hand stretch, time spent in practice and attention to detail are worth the effort and will ensure you understand and enjoy the music.

Copla the second movement is to be played Andante. Copla, "A unit of verse consisting of two successive lines, usually rhyming and having the same meter often forming a complete thought". Looking at the music one finds plenty of demi semi quavers, don't be put off, keep the speed down and feel the movement carrying you forward. Personally I like to keep strict time using expression and dynamic to give the music its feeling of movement. Keeping alive the idea of two lines working together really does pay dividends.

Fiesta, now if you started too fast in the Campo and forgot to pull everything back with the Copla then here in the Fiesta you are going to wish you had used more control. The Fiesta has a dynamic marking of Allegro con brio and yes the con brio is a definite must not only for the music but also for your enjoyment. Gone are the demi semi quavers, now we have broken chords, rasgueado sections, dynamic indications of "Violento" "Destacado con humor" "Ironica", in fact reading just the dynamic indications tells you so much about the music and really brings the work to life.

What I really like about this music is that it sounds exciting and is very rewarding to learn irrespective of your current level of playing. If you can get your fingers around the notes, go for it and don't worry if someone else on YouTube plays it faster than you.

Adrian.

282

Pumping Nylon Intermediate

Scott Tennant

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

Selina.

276

Latin America

Gerald Schwertberger

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This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated. What more can I say?

Skill Level
Beginner
Intermediate

This is simply a great little book full of sunshine and life! Schwertberger manages to capture the spirit of the dances without making the notes too complicated.

Interestingly, in the Preface the composer says “The point of this edition is to introduce guitarists to these dances, with all their appealing banality and stereotype turns of phrase.” In this he has been successful and although (or perhaps because) the music is not deep and meaningful, I was immediately drawn to its life and character and thoroughly enjoyed playing through the pieces.

The pieces are mostly in first position and generally based around chord shapes from which the melodies develop. There is, as you would expect a lot of syncopation, written in such a way that it is not difficult to work out and hear, although you will of course need to count! The greatest challenge is in the tempos; some of the suggested metronome marks are pretty quick and do give excellent results. However the music is still very effective at slower speeds and so provides very good technical development work. He achieves some great effects with rhythm and right hand patterns and each piece has a distinct character.

Highlights for me include Bossa Nova Breeze, which is ‘cool’ and relaxed with good use of chords and emerging melody lines. Nostalgia has a lovely bass melody topped by a syncopated accompaniment that uses some nice scrunchy harmonies. Bamba Samba is simply great fun and Nightwinds has an evocative atmosphere with its combination of rasgueado chords over the melody line.

The final Bossa Nova is a more challenging piece, with a straightforward right hand pattern that goes fast and some interesting harmonies to find.

Overall a book of sunshine that will bring a smile to your face and please and impress your audience.

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.

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