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ProduitsPartitions pour guitareGuitare seuleCon Pulso

Con Pulso

Con Pulso

Compositeur: ZOHN Andrew

DZ 1593

Avancé

ISBN: 978-2-89655-492-8

Guitare seule

12 p.

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Description

Guitarist Andrew Zohn has directed the guitar program at Columbus State University, Georgia, for many years now. The particular composition, dedicated to the Chilean guitarist Carlos Pérez, was written in the spring of 2011 and premiered by Zohn in a recital at Columbus State University in late September of the same year. Con pulso is written in a driving samba-like style. Once you have launched into it, there’s really no place to pause and take a breath.
The notation looks more complex than it is, beginning with arpeggiated left-hand block chords creating gently dissonant harmonies. A little initial uncertainty comes from trying to sort out B (open second) from B flat (fourth string), but it soon all makes sense. The main melody kicks in at measure 14, and comes in and out of focus for the balance of the piece. Overall this is a fun composition for those who enjoy Latin spiciness at Grade 5-6 level.

David Norton, Soundboard


Anyone unfamiliar with this man's music will discover a very inventive mind at work. He finds musical ideas and combinations of rhythms and notes the case here. It has the feel of a sort of crazy samba right from the outset, where you are holding a five-note chord down that you arpeggiated in a particular order. The notes he picks here are odd bedfellows and yet the effect is subtle, and mysterious and quite original. Of course the task of reading it is another matter; definitely not easy by any stretch, and because you are essentially playing semiquavers almost continually in figurations and combinations that you are going to be largely unfamiliar with, it takes some working out. However after you have it is easier to play than it might at first glance appear. After the initial idea comes a contrasting idea that isn't however much of a let up, for you are still rippling along in semiquavers. There is the odd touch of almost a jazz element in some of this part. After this extensive section the original idea returns and there is a stringendo and a thump of tambora and it is all over. This is a most interesting and satisfying piece to play that would be great for a seasoned player to use in a recital, for it would certainly have an impact with the audience, as it is so effectively done.

Chris Dumigan (Classical Guitar Magazine)

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