You can directly download each of Murrays full MP3 tracks here - free of charge
DO YOU HAVE LARGE NUMBERS OF STUDENTS WHO LEARN TO PLAY GUITAR BUT ARE NOT PART OF A PERFORMANCE GROUP? ARE YOU LOOKING FOR A GUITAR SOLO WITH A BACKING TRACK, OR ARE YOU LOOKING FOR CONTEMPORARY, APPEALING GUITAR ENSEMBLE MUSIC THAT HAS MUSICAL NOTATION PLUS TAB?
There is no better and more natural way to master guitar scales, riffs, chords and techniques than in a real, live performance situation. Fat Dog Guitar Ensemble scores were written specifically to help you with your educational, performance and concert requirements.
Take a look through our ensemble selection, and you can preview an audio sample of each as well as a PDF sample of the score. You may also download the free full audio track of each piece from the product page.
Check out our Youtube channel, featuring one of Murrays guitar groups playing a Fat Dog Music piece, Strollin':
This piece was created from two of the simple guitar chord shapes used in Paul McCartney's 'Blackbird'and is easy for all guitar parts. It is predominantly Bossa Nova in style in style and is based on three catchy, contrasting and straight-forward melodic ideas. Your guitar ensemble will enjoy this piece and get it together very quickly.
This truly famous classical guitar work by Tarrega has been given a contemporary flavour by being arranged in 4/4 instead of the original ¾ time signature. This Latin/Rock adaptation is placed over the top of modern drum grooves and features solos for both guitar 1 and guitar 2. Your musicians will love this and will get it together very quickly.
This piece is predominantly Latin/Funk in style and is based on a groove which is laid down by the bass. It has a strong, catchy and memorable chorus section and a very manageable solo section for guitar 1. The extended Outro section is extremely cool and consists of a series of overlaid grooves. Your guitar ensemble will love playing Solitary Soul.
This is an up-tempo Rock chart which originally started out as simple Blues, but it evolved – hence the title. It alternates between a straight-ahead even-eights feel and a two feel. Acoustic guitar 1 has appealing and catchy melody lines and a fully notated but technically straight forward solo section. Guitar 2 has some great support lines and Guitar 3 is given the rhythm guitar role. Your musicians will get this one together with a minimum of fuss and will love playing it!
This is a bright, cheerful 16th note Latin/Rock chart which sounds sophisticated but is very accessible to the performers. The 2nd acoustic guitar part often doubles with the bass in horizontal, rhythmical patterns and the 3rd guitar part is mostly finger patterns over easy but interesting chords. Acoustic guitar 1 has a catchy, highly syncopated melody line and a fully notated solo section which should present few technical demands. This chart is an absolute favourite with Murray’s own guitar ensemble.
Here is a great sounding 16th note Sing Funk Shuffle that is fun to play and is written for 3 acoustic guitars, electric guitar, drums and bass. The electric guitar provides the groove riff that is essential to this style and the 3rd guitar takes the rhythm guitar role with simple, contemporary chords and the occasional fingerstyle. Guitars 1 and 2 handle the catchy melody and harmony and should have few technical challenges. However, guitar 1 has a long, detailed and moderately demanding solo that your best guitarists will fight over.
This is a swingin’ 2-feel Funk Shuffle that has an interesting twist in that it has a Jazz solo section. It is not a hugely technically demanding chart, but it does require a very sophisticated feel in the Jazz section from your drummer, bass player and acoustic guitar 3 (who needs to comp with energy and appropriate style). Acoustic guitar 1 has a bold, punchy melody which at times is shared by acoustic guitar 2, which also has some simple chord work. Guitar 3 has a strong arpeggio-based riff and a number of jazz chords to contend with.
If you are looking for a truly beautiful guitar ensemble that is classical-based, but has a contemporary flavour, then this is it. This adaptation of Bach’s famous Air from his 3rd Orchestral Suite in D Major has all the subtlety and sensitivity that you would expect from such a wonderful composer but it is placed over the top of a modern drum groove and a warm, smooth bass line which gives the music a whole fresh appeal. This piece obviously requires good clean classical guitar technique to do it justice, but your musicians will get it together very quickly and your audience will love it.
This piece has been deliberately written to be accessable to less experienced musicians and has simple and strong themes that your students will enjoy. It is light rock in style with reggae influences and is lots of fun.
This chart is Bossa/Rock in style and is based around a catchy Latin groove played by acoustic guitar 3 and a strong, simple, riff-based melody in the acoustic guitar 1 part. Instead of a solo section it has a bridge which is built by layering a series of rhythmic/melodic grooves. Although this may be a straight-forward piece to play it sounds sophisticated and classy.
Here is a chart that your guitarists will love: It starts in the Baroque style of Purcell with just 3 acoustic guitars, then nudges the style forward by about 400 years by adding electric guitar, drums and bass and by evolving into a 6/4 rock feel in the middle section. Although this piece sounds sophisticated and demanding, in fact all parts are very accessible, so your musicians will get it together very quickly.
This is a very cool and accessible Latin/Rock arrangement of the famous Freddie Hubbard tune which has been wrapped around a funk groove in the bass. The feel alternates between Rock and Samba and the ensemble has been deliberately written to be as simple as possible but to sound tight, exciting and professional. A simple but carefully crafted solo section completes this very effective chart.
Here is one of the most beautiful pieces ever written, tastefully arranged for 3 acoustic guitars, 2 violins, ‘cello and upright bass. The arrangement can be played without the violins and ‘cello but they do add a smoothness that is difficult to achieve with just acoustic guitars. Although solid classical guitar technique is required to achieve a pure and clean classical guitar sound, all parts are written in easy positions and should present no difficulties. This lovely piece is guaranteed to produce a tender and reflective moment in the middle of any program.
Here’s a bright and catchy chart. Although the melody and harmony lines are found in the Acoustic Guitar 1 and 2 parts, Guitar 3 plays the pivotal role in this piece – the chart is founded on a memorable 8-bar finger-picking sequence based on just a few open-string chords in the first position. The style is hard to pigeon-hole (having its roots somewhere between Folk and light Funk) but your students and audience will become happily hooked on ‘Strollin’’.
This piece is based on a relaxed, contented groove which is laid down by the bass, Guitar 3 and drums with the melody and harmony lines found in the Acoustic Guitar 1 and 2 parts. The style is a shuffle, but it has shades of reggae, funk and even flamenco! 'Warming to the Groove' has been carefully written to be relatively easy to play but to sound sophisticated.