Valse des Magiciennes & Valse des Ombrelles
[3 Guitars] [score & parts]
I can imagine that these pieces will be much appreciated by teachers looking for straightforward material that has some nice 'guitaristic' features that can be slotted into their pupils' solo development too. Nice touches such as going into the fifth position just on the top string, use of the open strings to double the speed of the melody without doubling the difficulty, occasional double stopping with easy shapes, tone changes, chromatic movement... all grist to a teacher's mill.
The first piece is more reflective and melancholy than its title might suggest, but the tune is shared between players one and two, over a bass part of comfortable first position chords that enable a surprisingly lush harmony to emerge for quite modest efforts. The second piece moves the parts between players much more, but didn't really make enough of a contrast with the first for them to sit together in a pupils' concert. Individually, though, either piece would appeal to a group of players of approximately Grade II standard, looking for a performance piece that will hold together well.
(Derek Hasted, Classical Guitar Magazine)
| Featured Product | No |
|---|---|
| Composer | TISSERAND, THIERRY |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Level of Difficulty | 2 |
| Description | I can imagine that these pieces will be much appreciated by teachers looking for straightforward material that has some nice 'guitaristic' features that can be slotted into their pupils' solo development too. Nice touches such as going into the fifth position just on the top string, use of the open strings to double the speed of the melody without doubling the difficulty, occasional double stopping with easy shapes, tone changes, chromatic movement... all grist to a teacher's mill. The first piece is more reflective and melancholy than its title might suggest, but the tune is shared between players one and two, over a bass part of comfortable first position chords that enable a surprisingly lush harmony to emerge for quite modest efforts. The second piece moves the parts between players much more, but didn't really make enough of a contrast with the first for them to sit together in a pupils' concert. Individually, though, either piece would appeal to a group of players of approximately Grade II standard, looking for a performance piece that will hold together well. (Derek Hasted, Classical Guitar Magazine) |