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ProduitsPartitions pour guitareEnsemble de guitares Séquences en «Kit», vol. 3 - non reproductible

Séquences en «Kit», vol. 3 - non reproductible

Séquences en «Kit», vol. 3 - non reproductible

Compositeur: LÉVESQUE Luc

DZ 2397


ISBN: 978-2-89737-314-6 

Ensemble de guitares

24 p. + parties séparées


ensemble de guitares + percussions

“A stylistically diverse work perfect for young guitarists”
Although there are no parts, each full score is two faces of A4 paper, and permission is given to make copies, and once I’ve explained what this is all about, you’ll quickly see that this is teaching material with an unusual twist.
There are eight thematic phrases here, each eight bars long - eight “taster phrases”, if you like, in a wide variety of styles. Each stylist phrase is written in ensemble form comprising six or eight parts, and each line can take multiple players. In addition, each piece has two percussion parts, across a whole range of hitable things.
With every guitar part in first or second position, and with a few strummed chords (all with chord diagrams), this is straightforward material that will quickly fit together. Nothing here is for performance, it's all about capturing stylistic “signatures” in some textures that learners can quickly piece together and enjoy.
The eight little “Séquences” comprise “Rasta”, with optional cabasa and cajon; “Hispanique”, with castanets and drum; “Asiatique”, with xylophone and temple blocks; “Balafon”, with maracas and djembe; “Pop Rock”, with maracas and cajon; “Saharienne”, with tambourine and doumbek; “Tango”, with cowbell and percussion; and finally, “Western”, with wood blocks and cajon.
Because everything is in full score, learners can swap parts on the repeats; they can experience playing the tune, countermelody, chords, and bass and (equally importantly) can understand how it all fits together.
For a school teacher, this is really a must-have, even if none of this is going to feature in a school concert. Why? These little “studies” can be put together in the classroom, rather than needing home study. The ability to enjoy spontaneous music-making is something that guitarists often miss out on, and this levels the playing field. And there’s more, too: Many of the lines can be played on recorder
or similar “beginner’s instruments”, and much of the percussion can be played on the body of a guitar.
- Derek Hasted (Classical Guitar Magazine)

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