Raga du Soir
[Solo Guitar]
Here one is asked to retune four of the strings, 3rd to F#, 4th to D#, 5th to B and 6th to low B. Ok but that takes quite some adjusting.
It begins with multiple layers of F#s arid Bs to create an authentically Eastern feel to it (some parts are in two staves here also) Then the main Molto Ritmico section leads on with a pizzicato motif, interwoven with various ideas often built around hammer-ons and pull-offs, before the pedal idea hinted at the beginning leads to an extended section where the F#s and Bs underpin a swiftly moving semiquaver melody. Time signatures change swiftly from here on in before settling down back to the Molto Ritmico's first idea. This in turn leads after a swift climax to a repeat of much of the foregoing before a coda whips up the excitement level before a close on a fortissimo B major chord.
The hardest thing about this piece is the retuning needed. Having said that, much of it is used in a drone capacity, to enhance the Oriental feel needed. As it stands it is quite an effective four-minute piece that one could place in a concert, providing you didn't pale at all the retuning needed in mid concert.
Chris Dumigan (Classical Guitar Magazine)
| Featured Product | No |
|---|---|
| Composer | VACHEZ, SEBASTIEN |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Level of Difficulty | 4 |
| Description | Here one is asked to retune four of the strings, 3rd to F#, 4th to D#, 5th to B and 6th to low B. Ok but that takes quite some adjusting. It begins with multiple layers of F#s arid Bs to create an authentically Eastern feel to it (some parts are in two staves here also) Then the main Molto Ritmico section leads on with a pizzicato motif, interwoven with various ideas often built around hammer-ons and pull-offs, before the pedal idea hinted at the beginning leads to an extended section where the F#s and Bs underpin a swiftly moving semiquaver melody. Time signatures change swiftly from here on in before settling down back to the Molto Ritmico's first idea. This in turn leads after a swift climax to a repeat of much of the foregoing before a coda whips up the excitement level before a close on a fortissimo B major chord. The hardest thing about this piece is the retuning needed. Having said that, much of it is used in a drone capacity, to enhance the Oriental feel needed. As it stands it is quite an effective four-minute piece that one could place in a concert, providing you didn't pale at all the retuning needed in mid concert. Chris Dumigan (Classical Guitar Magazine) |