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

88

Modern Times (Full Edition)

Chanterelle

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60 Original Graded Contemporary Works for Guitar. Edited by Robert Brightmore. First published in five separate volumes, each original book is progressive and presents carefully selected pieces, graded in accordance with the various grading standards worldwide. The originality and imagination of the composers presented here speaks for itself and we hope that Modern Times will be a source of pleasure to players and teachers alike.

Skill Level
Intermediate

I was uncertain about this volume at first as I have experienced a lot of contemporary repertoire that has been uninspiring and unhelpful for younger/inexperienced players.

However, in order to write a "proper" review I have played through the book several times and I have found many of the pieces to be very enjoyable, exploring technical and musical possibilities on the guitar in a way that inspires and encourages the player rather than putting them off!

In the introduction the editor explains the priorities behind this collection of pieces, the overriding consideration being -"musical expression dictating the required technique should be foremost in the mind, thus initiating a more creative approach to music making."

The pieces were originally published in five volumes, each one progressive and graded in line with various grading standards. Published from 1987 to 1993 with this revised edition arriving on the shelves in 2007.

Here lies my only problem with this collection.

Grading standards in 1987 were very different than those of today, especially the very latest syllabi, but there is no mention of this in the introduction or effort to adapt the grading ideas to today’s thinking.

My immediate reaction was that the pieces are 1 or 2 grades more difficult than stated, by today’s standards.

It is important to point this out for less experienced teachers or those teaching themselves. However I think that this is a very valuable collection of pieces and one that should be used.

There are many different styles from around the world ranging from popular, to descriptive to dissonant and challenging, all with musical and technical goals to achieve.

There are some beautiful melodies that encourage the player to sing through the guitar. My particular favorite, "Chanson Du Marin Disparu" has one of the best and most poignant bass melodies I have ever played!

The pieces are all very well written for the guitar, exploring various musical techniques with a wide variety of rhythms, melodies and rich harmonies. Some require control of long, slow melodic phrases and others, like "Sea Picture" find melody out of flowing arpeggios that are very evocative of the title.

Other highlights for me include "Chinese Blossom" with its slow and expressive arpeggios; "Motivo de Danza" – a joyful piece; "Arpege" with wonderful harmony and so much room for expression, and "Cancion de Cuna" where the player can really learn expression and shape through scrunchy harmonies!

I have only just noticed that many of the pieces are slow and use descriptive instructions like tranquillo, misterioso, nostalgie, calmo and molto espessivo – all allowing the guitar to sing.

Ihighly recommend this book as it will introduce a wide and new range of music to students, primarily encourage musicianship and expression, and be very enjoyable for the player and the listener.

Selina.

musdivertissements

Divertissements Pour Guitar

Gerard Montreuil

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A collection of fourteen entertaining pieces written by the noted musician and teacher, Gerard Montreuil. Players will be delighted by the short pieces, leading to greater skill on the guitar and opportunity for further study.

Skill Level
Beginner
musguitaristsprogress1

The Guitarists Progress Book 1

David Burden

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This collection of guitar pieces takes the beginning guitar student from reading music to playing pieces of approximately Grade Three standard. It leaves the teaching of technique, hand positions, and other fundamentals to the teacher but provides material for all aspects of the very early stages of learning the guitar.

Skill Level
Beginner
116

Suite Castellana

Federico Moreno Torroba

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Guitar Solo. By Federico Moreno-Torroba. Arranged by Andres Segovia. Published by Schott Music. Contents: Fandanguillo * Arada * Danza

Skill Level
Advanced
115

Homenaje Le Tombeau de Claude Debussy

Manuel de Falla

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

Skill Level
Advanced
114

Libra Sonatine

Roland Dyens

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A piece of three movements consisting of A - India, B - Largo, C - Fuoco. Definately a tour de force, this piece will request much from the player yet will deliver something special to both the player and the audience. 11 pages of music Published by Editions Henry Lemoine

Skill Level
Advanced
113

Deux Airs Populaires Cubains

Leo Brouwer

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Guitar Solo. By Leo Brouwer. Contents: Quajira Criolla (on a theme by d'Anckerman) * Zapateado. These pieces are quite unusual, full of folk character and melody expertly blended with a contemporary feel, fantastic harmonies and clashes, contrasting textures and techniques and Brouwer's usual exciting use of rhythm and articulation.

Skill Level
Advanced

These pieces are quite unusual, full of folk character and melody expertly blended with a contemporary feel, fantastic harmonies and clashes, contrasting textures and techniques and Brouwer's usual exciting use of rhythm and articulation.

These pieces are quite unusual, full of folk character and melody expertly blended with a ‘contemporary’ feel, fantastic harmonies and clashes, contrasting textures and techniques and Brouwer’s usual exciting use of rhythm and articulation.

The pieces are difficult but very ‘guitaristic’ meaning that they flow nicely under the fingers and once you have learnt the fingering and technique you get a lot of satisfaction from the freedom of movement around the guitar and through the music.

The melodies are lovely but come with a twist, keeping you on your toes and piquing your (and the listeners) interest!

Both pieces are marked with 2 time signatures, ‘simple’ 3 in a bar 3/4 and ‘compound’ 2 in a bar 6/8. This is great for learning how to feel the pulse and for recognizing and highlighting the differences. The overall structure of the pieces is also similar with an ‘A’ section that returns after contrasting ‘B’ and ‘C’ sections.

The pizzicato arpeggio melodies at the beginning of Guajira have lovely lilt and movement highlighted by the wide range of pitch and the 3 voices ‘talking’ in counterpoint are very effective in the first contrasting section. When this melody returns in the major key it is more expansive with the music opening out before the return of the pizzicato theme from the beginning bringing the piece to a fading finish.

The introduction of Zapateado is also lilting in character, 4 bars of 6/8 and 4 bars of 3/4, repetitive and with a narrow range of notes that gives quite a restless feel to the music.

The second section has a melody that changes in pulse throughout with a lower voice that uses the opposite pulse, for example the upper voice is in 3/4 with the lower voice in 6/8 and in the next bar they swap! This is syncopated rhythm that needs real concentration at first but once mastered gives great results and is very satisfying. The ‘C’ section has 2 voices starting high and an octave apart and gradually converging, again with crossing rhythms and a sense of the music building and then losing tension towards the return of the opening section at the end.

The symmetry in the music is very clever giving us ideas to hang on to, always drawing the listener in but never sounding predictable. These are 2 beautiful little pieces, an enticing musical style captured in an instant.

Selina.

121

Solo Now Volume 3

Chanterelle

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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 triando stroke. Volumes 1 and 2 take great care to try to minimize the demands made on the left hand so that the student can focus on the formations of a stable right hand technique.

Skill Level
Intermediate

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.

120

The Guitarists Hour Book 1

Schott

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

Skill Level
Beginner
Intermediate
musfirstbookguitarsolos

A First Book of Guitar Solos

John Gavall

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30 short and easy pieces, including original works by Carcassi, Carulli, and Sor, and arrangements of folk tunes

Skill Level
Beginner
musponce12preludes

12 Preludes

Manuel M Ponce

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

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

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

Selina.

126

Tarrega Guitar Works Vol 3

Francisco Tarrega

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These are pieces written for the guitar to bring out the best it has to offer, highlighting the guitars warm, rich and singing character. The music is very evocative and, I think, teaches us how to express feeling and emotions through the guitar in a fun and relatively uncomplicated way! Berben Edition - Volume 3 Orginal Compositions. Titles include - Adelita, Alborada, Capricho Arabe, El Columpio, Danza Mora, Danza Odalisca, Jota, Gran Vals En La, La Cartagenera, Pavana, Las Dos Hermanitas, Maria, Marieta, Mazurka En Sol Mayor, Minueto, Pepita, Rosita, Sueno, Tango, Vals, Malaguena, Paquito, Isabel.

Skill Level
Intermediate
Advanced

This collection of pieces offers a lot of variety within this style of music and the pieces are just written so well for the guitar.

Tarrega gets the very most from the guitar using the range of pitch and varied special effects to create rich and interesting music that is simply fun to play and listen to.

From the simple soaring melody of Adelita, exploring the fingerboard, to the showiness and virtuoso feeling of Gran Jota, there is something here for everyone.

I particularly love El Columpio that has a sweet melody in thirds over a full and rich yet straightforward accompaniment. Of course there is Gran Valse that we know and love, a piece full of contrasts that requires full understanding of pulse and rhythm to get the best from it. This is true of all of this music. it is not just a case of getting the rhythm correct but of really feeling and getting into the pulse, and understanding what it brings to the music instead of just making it light and fluffy!

Rosita is a great little miniature packed full of energy and movement while Marieta is dramatic and colourful with its rich bass melodies exploiting the warmth and song of the guitar. Mazurka en Sol has passion and emotion created through rhythm and pitch contrasting with the cheeky light hearted character of Pepita, and Tango is simply marvelous, the G and D tuning giving wonderful resonance – simple but very effective and fun.

Capricho Arabe provides one of the great guitar melodies with so much opportunity for expression, contrasting moods and the accompaniment and melody combination that is so wonderful on a solo guitar.

This is a great edition.

There is a comprehensive Introduction including historical details of Tarrega’s life, composing and of the way that his music has survived and the difficulties involved in putting together a collection of his works. The music is then presented clearly without extra clutter and with the impression that it is as close to the original sources as possible.

Although the book is only present in the grade 6-8 lists the standard starts at about grade 5 and is certainly useful and appropriate for all players at and above this level to experience.

These are pieces written for the guitar to bring out the best it has to offer, highlighting the guitars warm, rich and singing character. The music is very evocative and, I think, teaches us how to express feeling and emotions through the guitar in a fun and relatively uncomplicated way!

Selina.

muspujolhispanae

Hispanae Citharae Ars Viva

Emilio Pujol

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I am afraid that I will have to start this review by saying that this is one of my favourite music books ever!There is a short preface describing the history and sources of the pieces, with some information for the player on tablature, original instrumentation, tuning and performance practice followed by a short description for each piece. Contains music composed by Various Composers and arranged by Emilio Pujol Vilarrubí.

Skill Level
Intermediate
Advanced

I am afraid that I will have to start this review by saying that this is one of my favourite music books ever! The music is simply fantastic and it is great to have a volume with a nice variety of pieces from this period to help guitarists become acquainted with the style and, as I did, fall in love with the music.

There is a short preface describing the history and sources of the pieces, with some information for the player on tablature, original instrumentation, tuning and performance practice followed by a short description for each piece. In these descriptions the editor gives approximate tempo markings and an indication as to whether note values have been changed due to the fact that during this period the semibreve is thought to have been equal to today’s crotchet, hence the pieces ‘looking’ slower to us!

The tempo markings are mentioned but unfortunately not translated! Despacio = slow, Apresurado = fast, Apriesa = fast, Compas = beat, Medio = neither slow nor fast! It is also important to understand the words redobles indicating rapid passages of notes and scales, and consonancias indicating passages of harmony and slower melody. Understanding the musical language is always important, especially here as it helps to explain performance practice and interpretation of a style that we are very unfamiliar with.

The preface states; “ (this music)…should be considered indispensable for the artistic development of the guitarist” and I cannot agree more! From a reading point of view the altered tuning makes us think and the Renaissance style forces us listen to musical lines and phrases, clashing harmony creating movement and emotion, multiple voices, interweaving lines and long extended phrases with unfamiliar structure. The rhythms are unusual and there are lots of long notes and space to play through, especially where the pieces are based on vocal works, like Cancion del Emperador by Narvaez on Mille Regretz by Josquin.

There are also many contrasts from the simple chordal structure of the first two pieces by Pisador, through the long interweaving lines of Milan’s Fantasia del quarto tono, to the imitation, energy and dissonance of the Fantasia by Mudarra. This Fantasia, written in imitation of the harp in the manner of Luduvico is a fantastic piece and great fun, if a little tricky, to play. At one point in the piece Mudarra has written a note saying “from here to the end there are some false notes; when played well they do not sound bad”!

I also love the Fantasia del quarto tono by Milan with its stately opening chords from which melodies emerge and open creating continuous momentum throughout the music. The contrasts in Fantasia de consonancias y redobles are great and encourage a freedom in interpretation that many of us find difficult at first.

Finally Diferencias sobre Guardame las vacas is probably the most famous of the pieces and has wonderful movement and development throughout the continuous variations, rhythms that appear to twist and turn, imitation and flowing scale passages that rise and build towards a final phrase that relieves the tension in a calm ending.

Brilliant and definitely music that should be in every guitarist’s repertoire.

Selina.

musmilanofantasie9

14 Fantasie per Chitarra

Francesco Da Milano

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Guitar Solo. By Francesco Canova Da Milano. Arranged by Miklos Mosoczi. 18 pages. Published by Editio Musica Budapest.

Skill Level
Intermediate
Advanced
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.

132

The Guitarists Hour Book 3

Schott

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

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

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

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

Selina.

musdowlandmelancholy

Melancholy Galliard and Allemande

John Dowland

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Dowland's 'Melancholy Galliard' and 'Allemande' transcribed from the lute tablature and arranged and fingered for guitar by Karl Scheit

Skill Level
Intermediate
musdowlandair

Air and Galliard

John Dowland

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Transcribed from the lute tablature and arranged for guitar by Karl Scheit.

Skill Level
Intermediate
muslemayprogressivevol5

Repertoire Progressif Volume 3

Les Productions dOZ

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This album moves up to around Grade 4, (although a couple of pieces of Grade 3 have sneaked in) and there are more 'unknown' pieces than in the previous two books, the collection being the better for it; Claude Gagnon emerges yet again, this time with four pieces and there are two fingerstyle compositions by Jacques Chandonnet... ...these albums are presented to a high standard.

Skill Level
Beginner
Intermediate
muslemayprogressivevol5

Repertoire Progressif Volume 5

Les Productions dOZ

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These six volumes of progressive repertoire for classic guitar provide pieces that will please apprentice guitarists at both beginner and more advanced levels. The repertoire was chosen by a large number of Quebec teachers who have been working for many years at all levels of classic guitar instruction. Their precious help has brought quality, diversity and originality to this collection.

Skill Level
Intermediate
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