• Partition

Format

Le format Papier vous offre une partition imprimée de haute qualité, idéale pour enrichir votre bibliothèque musicale et pratiquer loin des écrans.

Le eScore est une partition numérique en format PDF de haute qualité, disponible au téléchargement pour l’ensemble du catalogue des Productions d’Oz et Doberman-Yppan.

Le eScore Extra vous permet d’imprimer les copies dont vous avez besoin pour vos élèves ou pour les membres de votre ensemble, tout en interdisant tout partage numérique.

Le Combo vous offre la partition papier et la partition numérique à prix réduit, pour concilier bibliothèque physique et accès instantané sur vos appareils.

Le Combo eScore Extra + Papier vous offre la partition imprimée ainsi qu’une version numérique vous permettant d’imprimer les copies nécessaires pour vos élèves ou votre ensemble.

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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)