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

327

8 Compositions for Guitar Solo

Alonso Mudarra

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Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.

Skill Level
Intermediate
Advanced
326

9 Fantasias for Guitar Solo

Alonso Mudarra

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Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.

Skill Level
Intermediate
Advanced
324

Grand Solo Op. 14

Fernando Sor

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Edited by Fabio Rizza. With this edition Rizza concludes that the Grand Solo op.14 was composed at a time when Sor was trying his luck in the World of opera in Barcelona. There are many editions of this work and in this edition Rizza leans a lot on Meissonniers second editon of the Grand Solo which was the last to be published during Sor's lifetime.

Skill Level
Advanced
giuliani-variations-op45

Variations Op.45 sur les Folies d'Espagne

Mauro Giuliani

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Like most Renaissance court dances, the Follia was originally a country dance. Shaking off its merry but coarse peasant character, the Follia rapidly entered the repertoire of art music as a simple harmonic scheme upon which to improvise or compose variations. Consisting of Theme and six variations this edition by Fabio Rizza is clearly printed making for ease of study and performance.

Skill Level
Intermediate
Advanced
muswynbergfirstrep

First Repertoire for Solo Guitar Book 1

Simon Wynberg

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The contents of book 1 cover a wide stylistic range with music of interest to adults and children alike. All compositions originally written for the guitar with some works being published here for the first time. Helpful notes are given on performance the selected pieces are designed to be varied and musically for the player.

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
95

Five Pictures of Sark

Vincent Lindsey-Clark

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These five delightful pieces by Vincent Lindsey-Clark reflect the Channel Island of Sark. Maseline Harbour, Hvre Gosselin, Cycles in the Avenue, La Moinerie and Descent from La Coupee are expertly composed for solo guitar by this highly talented musician.

Skill Level
Intermediate

As with the "Simply" series, these pieces encourage experimentation, exploration and musicianship for all levels of ability.

Clarke somehow manages to make the guitar sound more expansive in scope than it is with the various ways that he writes melodies and, particularly, accompaniments. He achieves many different textures and moods, which are evocative and convincing, drawing real pictures of the scenery and life of Sark.

The music requires dynamic and tonal control and contrast, while the structure and harmony in the pieces introduces the player to a modern and "impressionistic" style.

We often talk about finding pictures to accompany your music and help you to communicate ideas - this music really helps and encourages you to do just that!

In Maseline Harbour the contrast in textures is fantastic, from the flowing arpeggios of the first section to a repeated chord accompaniment over a bass melody; this melody then expands into octaves bringing out wonderful dissonances and producing a big sound picture. The final section highlights a syncopated melody within the semiquavers that is a great exercise for the brain and finger independence. This creates an uneasy atmosphere before melting back into the opening arpeggios.

Havre Gosselin uses a simpler musical texture, mainly two voices, employing repeated notes in the melody to create long undulating phrases. This is a haunting piece; the dramatic centre section uses big jumps between first and seventh position to hold and release the tension in the music.

Cycles in the Avenue is the most cheerful of the pieces -the musical instruction is "scherzando"! The piece uses the whole fretboard and encourages a freedom of movement in the player. This is not easy as there is some challenging high position reading and quick moves. The contrasting middle section uses long slow chords with a "scrunchy" harmonic progression and voicing that requires one part to be staccato and the other legato.

La Moinerie is a beautiful, slow, expressive piece that requires good finger control to bring out the separate voices and fantastic harmonies. The phrases are long and flowing, excellent practice for the developing guitarist and the flow of the music is irresistible. A small phrase using artificial harmonics with other voices is a big challenge (a difficult technique) that is wonderful when mastered, and the way that the ending evaporates has a real "tingle" factor!

The final piece, Descent from La Coupee (304 steps) is the most dramatic, dissonant and exciting. The dissonances may take some time to get used to when you are learning the piece, but the effect they add to the driving rhythms conjures up many pictures including, for me, a thunderstorm, crashing seas and fright in the repeated chord section! The use of strumming and punctuated rhythm in the coda results in a big, dramatic ending.

This set of pieces would stand quite happily alongside more complicated and difficult works in performance and I think that any player would have fun (and benefit from) exploring them - I know that I do!

Selina.

102

Hommage a Tarrega

Turina

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This piece is from the repertoire that brought a lot of people of my generation to the guitar, and still does due to its rich, evocative musical language. It is part of the huge contribution that Andres Segovia made to our repertoire by inspiring and encouraging new composers to write guitar music, without which I am sure we would not be where we are today. The edition covers 7 pages. Published by Schott Music.

Skill Level
Advanced

This piece is from the repertoire that brought a lot of people of my generation to the guitar, and still does due to its rich, evocative musical language.

It is part of the huge contribution that Andres Segovia made to our repertoire by inspiring and encouraging new composers to write guitar music, without which I am sure we would not be where we are today.

The key is the way that Turina uses the characteristics of the guitar to create the emotion, depth and colour in the music. The piece is very much written for the guitar with a fantastic and varied texture created using ponticello, tasto, rasgueado, subito dynamics and loads of musical instruction on the score.

The music also uses the natural tone colours of the guitar, for example the full and mellow sound high up on the inner strings, and accuracy in right hand articulation is important.

The two movements are based on flamenco dance forms, which are distinguished by, among other things, their rhythmic patterns.

Garrotin has an exciting opening and driving rhythm. There is a lot of variety with melodic motifs tying the movement together, lots of slurring, rasgueado and golpe.

The singing melodies contrast with driving repeated notes, rhythmical chords and flowing scales. Soleares is more flamenco in style in its distinctive rhythm, rolling arpeggio patterns, sequences of scales and triplets. Slurring is very important for free movement as well as texture and rhythm, and much of the fingering is for colour.

Overall this piece reflects the flamenco tradition while remaining classical in style. It is a true guitar piece using the guitars attributes to the full and it is very exciting piece – an important part of the repertoire.

Selina.

76

Solo Now Volume 1

Chanterelle

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

Skill Level
Beginner

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

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

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

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

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

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

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

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

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

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

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

Selina.

76

Solo Now Volume 2

Chanterelle

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

Skill Level
Beginner
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.

71

33 Czech Folksongs - (Teachers Part)

Peter Eben

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Learning to phrase melodies is the goal in this well chosen selection of folk songs by leading Czech composer Peter Eben with teacher's accompaniments.

Skill Level
Beginner
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.

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.

94

Cavatina

Alexandre Tansman

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

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

Selina.

muslauro2venzwaltz

Two Venezuelan Waltzes

Antonio Lauro

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Two very well know works entitled El negrito. the black haired one, which refers to Lauro's son, Luis and La gatica, the female cat. The pairing of these pieces is as Lauro intends it. Nicely printed, easy to read with no page turns within pieces. A buy must for all guitarists.

Skill Level
Intermediate
guitaracademy3

Guitar Academy Book 3

Richard Corr

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

Skill Level
Intermediate
Advanced

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

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

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

 

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

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

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

Selina.

 

212

The Real Guitar Book Vol 3

Lee Sollory and Nick Powlesland

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

Skill Level
Beginner
89

25 Etudes Esquisses (Complete)

Gerald Garcia

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

Skill Level
Intermediate
Advanced

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

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

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

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

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

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

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

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

There is so much to enjoy and to work with in this volume, developing important skills whilst enjoying some excellent music. I would say an essential book for all guitarists from grade 4 upwards.

Selina.

100

Aquarelle

Sergio Assad

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

Skill Level
Advanced
101

Dyens Mambo des Nuances

Roland Dyens

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Skill Level
Advanced
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