Tango Estampie
[5 Guitars] [score & parts]
Tango Estampie is scored for four standard guitar parts plus a fifth part that may be played either on another standard guitar or (better) on a contrabass guitar (tuned one octave lower than a «normal« guitar). The piece does manage to capture the tango flavor that is so much in vogue these days, but without the rhythmic and harmonic bite that is characteristic of Piazzolla, Patrick Roux or Maximo Diego Pujol. This slight «taming« makes it very palatable for a general audience. (Our guitar orchestra has included it in concerts this season, and it has always been an audience favorite.) The ending (the last 24 measures) is weaker than the rest of the piece, but will be effective if played with enough gusto. All the parts are rather easy, without severe technical or rhythmic demands, and the piece works well for just about any number of guitars, from five on up. This could be a great introduction to the tango style for a student ensemble, in addition to being a light program pleaser.
(David Grimes, Soundboard - Winter/Spring 2000)
Voici schématisé un tango pour cinq parties (dont une de basse) où des niveaux différents pourront se retrouver. Aucune voix n'est ce pendant très difficile et la simplification allant de pair avec la clarté, nous avons là une pièce de moyenne difficulté (passages binaires/ternaires) combinée en un tout homorythmique (doublures temps sur temps). Utile et sympathique.
(Hugo Mercury, Les Cahiers de la Guitare)
| Featured Product | No |
|---|---|
| Composer | LEVESQUE, LUC |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Level of Difficulty | 3 |
| Description | Tango Estampie is scored for four standard guitar parts plus a fifth part that may be played either on another standard guitar or (better) on a contrabass guitar (tuned one octave lower than a «normal« guitar). The piece does manage to capture the tango flavor that is so much in vogue these days, but without the rhythmic and harmonic bite that is characteristic of Piazzolla, Patrick Roux or Maximo Diego Pujol. This slight «taming« makes it very palatable for a general audience. (Our guitar orchestra has included it in concerts this season, and it has always been an audience favorite.) The ending (the last 24 measures) is weaker than the rest of the piece, but will be effective if played with enough gusto. All the parts are rather easy, without severe technical or rhythmic demands, and the piece works well for just about any number of guitars, from five on up. This could be a great introduction to the tango style for a student ensemble, in addition to being a light program pleaser. (David Grimes, Soundboard - Winter/Spring 2000) Voici schématisé un tango pour cinq parties (dont une de basse) où des niveaux différents pourront se retrouver. Aucune voix n'est ce pendant très difficile et la simplification allant de pair avec la clarté, nous avons là une pièce de moyenne difficulté (passages binaires/ternaires) combinée en un tout homorythmique (doublures temps sur temps). Utile et sympathique. (Hugo Mercury, Les Cahiers de la Guitare) |