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ProductsSheet Music for GuitarGuitar OrchestraTrois brésiliens à Saint-Paul

Trois brésiliens à Saint-Paul

Trois brésiliens à Saint-Paul

Composer: ASSAD Sergio

DO 671


ISBN: 978-2-89503-447-6

Guitar orchestra

52 p. + separated parts
Les Éditions Doberman-Yppan


for 4 guitars and bass
Le naïf, La joyeuse, Le rêveur

“Le Naif opens gently with a single bar phrase echoed across the forces, but this is confident and adventurous writing that is strong rhythmically as well as harmonically, and the piece moves from A minor to conclude in Ab major. On the way, there are some glorious contrasts, with a particularly lovely, gentle set of airy chords set over a quiet but Latin bass.

La Joyeuse begins with a sequence midway between drum roll and fanfare in 4/4 time, but again confident writing brings in a mix of 2/4 and 3/8; 7/8 if you will. The rhythmic motif that opened the piece punctuates the writing before it explodes into six sharps. Towards the end of the movement, there is a drum-snare effect and percussion - Joy indeed!

Le Rêveur, marked Rubato espressivo is exactly that. Something about the pace and pulse reminded me of Satie, but this is very different, and includes some aggressive interludes and the full use of the pitch range of the guitar.
Rencontre en Tricastin opens in 3/4, but the syncopated writing across the parts imparts a 3/4 6/8 feel, and there are some rhythmic challenges in the “four in the time of three” writing. The ending is dramatic and enjoyable.
The setting is for “four guitars and a contra” or “5 guitars”, and there are solo and tutti markings to suit a larger ensemble. Although much of the writing is Grade 7-8 standard, the rhythm and mood changes would suggest that a more advanced group would shape the pieces better. Typesetting is a model of clarity, and page turns are carefully chosen. Fingering and dynamic markings are clear and helpful.
As a reviewer, I always play what I review, and ensemble music usually sees me setting my computer to play a section with me. I’m firmly of the opinion that this music, played live, will have a whole extra dimension over and above what I’ve already enjoyed, and I’m keen to hear this in concert - come and join me!”
Derek Hasted (Classical Guitar Magazine)

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