Nous livrons du Canada, des États-Unis et de l'Europe pour mieux vour servir!


ProduitsPartitions pour guitare5 guitares et plusXingú

  • MP3


Compositeur: Van der STAAK Pieter

DZ 2076


ISBN: 978-2-89655-975-6

5 guitares

8 p. + parties séparées

  • Trois formats s’offrent à vous pour vos achats.

    Livre : La version papier de nos éditions, qui vous sera expédiée par la poste à partir du point de distribution le plus près de chez-vous.

    PDF : La version électronique et téléchargeable sous forme de fichier PDF. Ces fichiers sont encodés avec une entête à votre nom et leur ouverture requiert un mot de passe.

    PDF Extra : Cette version vous permet d’imprimer autant de copies que vous en avez besoin pour vos ensembles musicaux. Requiert aussi un mot de passe lors de l’ouverture.


The music begins with a one bar motif that starts with Guitar 3 and sees three more of the remaining guitars come in, each starting the same motif but displaced by two, one and finally three beats. It's a one-bar round with the four players a beat apart - a slightly hypnotic opening to the piece. It's the same principle as the brooms that open a Stomp stage show. The fifth guitar enters with a slow bass and the burbling finally ceases after 16 bars. The centre of the piece is a more conventional van der Staak composition with a straightforward but nonetheless delightful chord sequence - Am, Dm, G7, C, Bm7, E7, Am, Am6, over which the melody climbs higher each time the chord sequence repeats. Whilst Guitar 1 soars higher, the other lines have subtle changes to their parts. This would suit a novice or intermediate ensemble of mixed ability - Guitar 5 is all crotchets and minims, but the other parts are in quavers. As we move up the orchestration, the parts venture increasingly far up the neck, but nothing goes above fret ten, and there are very few accidentals. With a conductor or teacher in charge, I think this would be a very straightforward and delightful piece. For a quintet that is not conducted, the initial entries require accurate counting - coming in after four and three quarter bars, and playing the same melody, but out of step with everyone else, needs confidence and precision. With a number of dynamic markings but no fingering, this is very accessible piece that has first time appeal with an audience at, let's say, a school concert.

Derek Hasted (Classical Guitar Magazine) 

Autres suggestions