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

mustorrobapiecescaracteristique

Pieces Caracteristiques

Federico Moreno Torroba

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This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. Andres Segovia Edition Volume 2 GA 134 includes the pieces entitled, Los Mayos, Albada and Panorama.

Skill Level
Advanced

This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. As such it is a part of the repertoire that is often overlooked as our musical tastes change but that can teach us a lot about what our instrument can achieve.

There are three pieces offering contrast in character but strong links in melody that means they work beautifully together. The music is full of strong treble and bass melodies, driving rhythms, exciting harmonies and lots of opportunity for contrasts in articulation and tone. Techniques include fast articulation, control of long slurred passages and fluid movement around the fingerboard.

Los Mayos is strong and bright with an uplifting theme that is used throughout, driving the music forward, lots of chord movement, and some lovely ‘clashy’ harmonies. It is marked Allegro no tanto – quick and cheerful but not too much!

Albada has a great, quirky and quite angular returning theme that contrasts with some lovely tenor melodies on the 4th and 5th strings and a gorgeous tune in the relative minor with a warm syncopated accompaniment. Again the Allegro marking is tempered, this time with gracioso, highlighting character as apposed to straight speed.

The final piece is Panorma, an expansive piece with a Lento Introduction, a central Allegro which develops into a fugal section using the main theme, and a return to the theme of Los Mayos to finish. The Lento consists of beautiful, big chords producing full and rich ‘open’ harmonies which rise and crescendo before falling in triplets with a diminuendo that leads into the Allegro. Now the music moves more quickly alternating between a melody in triads and flowing semiquavers, building into the relative major and towards a brief introduction of the Los Mayos theme before falling towards the fugal section.

Here the main theme from this movement is developed with many entries and echoes in other voices, moving through keys and creating full textures and harmonies, starting low and rising to 2 octaves higher than the first statement before falling back again and finally merging into the final strong statement of the Los Mayos theme. It is all very exciting and finishes with a great ‘big dipper’ run of semiquavers and then 2 lovely, soft, staccato chords – real drama!

This is perfect music for the Classical Guitar – warm and Spanish in character, exciting and dramatic, using all the instrument has to offer and a reflection of a golden age for the guitar.

Selina.

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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.

musoneplusvol23

One + One Volume 2 (Pupils 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.

Skill Level
Beginner

These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

All the student parts are single line melodies across the two volumes.

Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

Grade 1 (volume 1)

  • Riggadoon: a lively, straightforward melody using the treble strings.
  • German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.
  • Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

Grade 2 (volume 2)

  • Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.
  • A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!
  • Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.
  • Grade 3 (volume 2)

    • Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.
    • Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

    Selina.

    musoneplusvol1

    One + One Volume 1 (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.

    musoneplusvol16

    One + One Volume 1 (Pupils Part)

    Chanterelle

    Base price for variant: £7.95
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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.

    Skill Level
    Beginner

    These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

    The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

    There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

    There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

    All the student parts are single line melodies across the two volumes.

    Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

    In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

    There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

    I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

    Grade 1 (volume 1)

    • Riggadoon: a lively, straightforward melody using the treble strings.
    • German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.
    • Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

    Grade 2 (volume 2)

  • Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.
  • A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!
  • Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.
  • Grade 3 (volume 2)

    • Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.
    • Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

    Selina.

    musdodgsonodetotheguitar

    Ode to the Guitar

    Stephen Dodgson

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    Stephen Dodgson was educated at the Royal College of Music, where he later taught theory and composition. His guitar music has gained recognition, despite the fact that he does not play the instrument himself. His remarkable grasp of the instrument’s capabilities in a distinctly non-Spanish idiom deserves to be heard more widely. John Williams premiered many of his guitar works, including the first Partita and the first guitar concerto.

    Skill Level
    Intermediate
    Advanced

    This book is “A Sequence of 10 Miniatures’ written by a composer with a great pedigree in writing original and ‘far reaching’ music for the classical guitar.

    By that I mean that the music stretches our technical abilities and musical ideas and has been very important in the development of the guitar repertoire in the 20th century.

    In his preface Dodgson describes his collaboration with Hector Quine in writing a series of technical studies to complement a rapidly expanding guitar repertoire. After 20 years there was a pause in writing and although many aspects of technique had been explored Dodgson felt that there was one vital element missing – the expressive requirement. In this volume he set out to provide ”a strongly coloured miniature which will encourage the right hand to give voice to a full range of expression”

    I think that he has achieved his aim with these miniatures and has gone beyond that in introducing guitarists to a truly contemporary style and new musical language, developing reading and interpretation skills as well as musical imagination.

    The old excuse of “I can’t learn the piece because I don’t know the tune!” doesn’t work with these pieces.

    The titles are very important, supplemented by ‘character’ and ‘feeling’ words in place of traditional tempo markings or expressions; for example ‘brisk and impish ‘,’radiant and sustained’ and ’menacing and intense’, which send direct messages to the fingers before you have even listened to the music!

    There is of course a level of technique needed to get the most from this music, but I think that it also helps to develop this from the angle of tone colour, texture, spirit and story telling. The ability to listen and use your imagination is very important throughout the learning process, as is a strong rhythmical feel. A lot of the harmony is dissonant and unusual but there are also plenty of recognizable features to help you to develop an understanding of the style. The pieces use the whole range of the guitar in a very free flowing manner and even though the positions and shapes may be unfamiliar the music is very well written for the guitar both technically and musically. Fingering is used sparingly encouraging the player to explore.

    1. Ode to the Guitar - arpeggio figures punctuating slow melodic lines;
    2. Ragged Robin (grade 6) – clever use of the left hand around the fretboard giving the cheeky and impish character required, with small motifs linking and giving direction;
    3. Rainbow – constant flowing semiquavers where the player needs to listen to the harmony for shape and direction. It is particularly important to read the musical instruction here;
    4. Ghost Story (grade 7) – the melody and harmony are very contemporary with the melodic intervals and dissonances giving it the sinister and menacing feel;
    5. Drowsy Head – clear melody and direction with fingering patterns and a great mental picture to follow!
    6. O Pussy my love – a serenade feel and ideal pulsing accompaniment with a stretched rhythm to challenge you and detailed and tricky left hand work;
    7. Call, and I follow – lively and tricky requiring a light touch and good counting!
    8. Sirins (grade 6) – one of my favorites with clever use of subtly changing harmonies and lilting pulse;
    9. Hornets Nest (grade 8) – great fun with detailed left hand work cleverly under the fingers even if they have to move to get there!
    10. Villanelle – rustic with great spirit in the rhythm, range and lovely bass melodies.

    To conclude, these pieces really are small windows onto emotional feelings and characters and as Dodgson says of the benefits of learning; “an awakened imagination is the spark; the reward, a tiny concert piece that sounds like one.”

    Selina.

    musicbrouwer3

    Nuevos Estudios Sencillos.

    Leo Brouwer

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    A group of studies covering various techniques such as arpeggio, staccato, legato, afro-cuban rhythmic patterns, tremolos, partial barre, this is an essential book for the committed student.

    Skill Level
    Beginner
    Intermediate

    I have always been a fan of Leo Brouwer’s music and so was immediately drawn in to these studies with their great use of the guitar and "natural" technique that compliments rather than fights the music!

    Like Brouwer’s "Simple Studies", they provide varied technical and musical skills as well as training the ear to the more unusual sounds and dissonances of modern music which is very important in the development of the young (and not so young!) budding guitarist.

    At the same time Brouwer manages to keep the music very lyrical, linking each study to a composer (homage to…) which heightens interest!

    My only worry is the statement in the notes for study number one that the collection is for beginners or children. I think that these pieces would be of benefit to, and enjoyed by players of any age, but possibly suited to those with a bit more experience since the notation, rhythms and voicing is quite tricky in places.

    I would place them at a grade 3 to 5 level, possibly 6 if all the tempo and articulation markings are kept to (for our database beginner/ intermediate)

    Each study has written notes which clearly explain what is required and what to focus on.

    The music requires clear dynamic control, careful articulation even between voices, pinpointing melody within arpeggios, legato phrasing and syncopated rhythms. There is simply loads to work on in each piece!

    My favourites are Tarrega (no. 5) with its minimalist style, tremolo development and strong echoes of Brouwer’s Decameron Negro; Prokoviev (no. 4), which has an excellent, rhythmical bass melody; the lovely harmonies and chord melody in Villa Lobos (no. 8) and the beautiful simplicity of Szymanowski (no. 9).

    Overall, this collection of pieces would be of great benefit to players of all standards and I particularly like the link to composers that will hopefully encourage young people to explore different kinds of music. Importantly the strongest element of "study" here is musical – excellent!

    Selina.

    mustorrobamusicforguitar

    Musica Para Guitarra

    Federico Moreno Torroba

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    This album presents some of the best examples of the Madrid born composers prolific output that spanned his long career. While his most celebrated work is 'Madronos', all pieces in this album are testimony to the fact that his inspiration is rooted in popular music, to which he adds a vocal style of melodic invention which reminds of his love of vocal music.

    Skill Level
    Intermediate
    Advanced
    musdeviseedelresole

    Musica Del Re Sole

    Robert De Visee

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    Skill Level
    Intermediate
    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
    musabtheory7

    Music Theory in Practice, Grade 7

    ABRSM

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    Covers all aspects of the Grade 7 Theory of Music examination. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. 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
    musabtheory6

    Music Theory in Practice, Grade 6

    ABRSM

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    Covers all aspects of the Grade 6 Theory of Music examination. Deals with the realisation of figured basses for keyboard and for voices in four parts, harmonisation of tonal melodies and melodic composition, both tonal and in more modern styles. Covers both pre-20th-century and 20th-century styles, builds on work covered in the first five volumes of Music Theory in Practice, looking further into the workings of tonal harmony and introducing students to melodic composition outside the tonal system

    Skill Level
    Intermediate
    musabtheory5

    Music Theory in Practice, Grade 5

    ABRSM

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    The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 5 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout' many worked examples and practice exercises' definitions of important words and concepts' specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

    Skill Level
    Intermediate
    musabtheory4

    Music Theory in Practice, Grade 4

    ABRSM

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    The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 4 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

    Skill Level
    Intermediate
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    musabtheory3

    Music Theory in Practice, Grade 3

    ABRSM

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

    Skill Level
    Beginner
    musabtheory2

    Music Theory in Practice, Grade 2

    ABRSM

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    The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 2 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

    Skill Level
    Beginner
    musabtheory1

    Music Theory in Practice, Grade 1

    ABRSM

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    The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 1 Theory of Music Exam, offering:a clear explanation of music notation, straightforward language throughout, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions,helpful tips for students. As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

    Skill Level
    Beginner
    79

    Moving On

    Peter Nuttall

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    For students of all ages who enjoy melodic pieces in popular styles. The technical demands remain modest, and the idiomatic nature of the compositions makes them rewarding to both player and listener.

    Skill Level
    Beginner

    I really like this little collection of pieces as they highlight development of musicality and emotion in your playing.

    Realistically the level here is grades (or years playing) 2 to 3. Although the pieces are not complicated there are more notes to read on the page, more ‘involved’ rhythms and much more musical input required. Several of the pieces use a bass melody, fantastic for improving reading of these often neglected but very important notes!

    In The Wheatfields the accompanying 3 note chords look difficult but are all using i m a for mostly open strings or with one fingered note. This provides a very full accompaniment for the beautiful bass melody with lots of musical instruction to keep you on your toes.

    In contrast On The Prairie has a treble single line melody with arpeggio filling, with the evocative title clear ideas on how to interpret the bright and flowing music.

    The Old Lute is a simple piece in two voices reflecting a Renaissance style with a modern twist and To Mexico has a mixture of arpeggio chords and melody, syncopated rhythm, D and A chord shapes and loads of character!

    There are three good blues pieces written in 12/8 time to give the swing feel with some very effective syncopated rhythms, teaching a lot about chords and about feeling the pulse and movement in the music. The final Danza has quite a medieval feel to the harmony, with the melody swapping between treble and bass registers and a lovely gentle flow throughout.

    All in all a very enjoyable set of pieces with lots of potential for technical ad musical development as well performance opportunity!

    Selina.

    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.

    musmoodsblues

    Moods n Blues

    Peter Nuttall

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

    Skill Level
    Beginner
    Page 6 of 13