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

Retour

ProduitsPartitions pour guitareGuitare seuleSonata No. 1

Sonata No. 1

Sonata No. 1

Compositeur: FLETCHER Nick

DZ 2527

Avancé

ISBN: 978-2-89737-444-0 

Guitare seule

16 p.

  • 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.

Description

“Prolific guitar composer finally writes a sonata”
Nick Fletcher is a UK-born player/com­poser who has written many fine pieces for the guitar published through d’Oz, and here he tries his hand at his first full-blown sonata. It’s in three movements - the first and third are fast and furious, the second is a very smooth, jazz-like, free-rhythmed piece that sounds almost like it could have come from the 1930s. The first movement, “Allegro,” has a ground bass A over which a long-breathed, rhythmed melody of a 16th note and two 32nd notes takes hold. The time signa­tures change from a steady 4/4 to 2/4, 3/4, and 5/4 at times, as the melody ploughs through relentlessly. A brief, more melodic second theme intervenes before a presto materializes, consisting of an arpeggiated four 32nd-note idea that is harder to exe­cute than it looks. After the repeat, a development section plays with the previ­ous themes, before yielding to a complete repeat of the recapitulation section and a small coda. The slow movement is wonderfully warm and clearly jazz-influenced, with melt­ing harmonies and sudden changes of key. The final “Presto con Fuoco” is a mix of 6/8 and 3/4, mostly in two voices, leading to a middle section that quotes directly from the first movement before returning to the opening idea and a swift and forceful coda. This is a pleasant and rewarding piece that definitely deserves to be heard. How­ever, it is advanced in its techniques and really only for the experienced player.
-Chris Dumigan (Classical Guitar Magazine)

Autres suggestions