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ProduitsPartitions pour guitareGuitare seule3 Waltzes

3 Waltzes

3 Waltzes

Compositeur: STEVENS Keith

DZ 1658


ISBN: 978-2-89655-557-4

Guitare seule

12 p.


Three pieces forming a coherent work which would be easy slip into the lighter part of a concert programme. The music is pleasant to the ear, with a lively rhythmic and harmonic base. Waltz no. 1 marked alleqro is written in a three four, six eight time Signature. The notes keep the fingers busy and the musical content flows easily. The second Waltz, moderato, has a lilting opening, followed by a middle section which is built using descending passage work before the opening is brought back and finished with a short coda. Nimble fingers and a mind open to the various character changes in the alleqretto which is the final Waltz are the main essentials here. The piece is written in a rondo form which gives a strong sense of structure and holds the music together. Note that the first and third Waltzes have no dynamic indications whilst the second has a smattering of same.

John Arran (Classical Guitar Magazine)

This is a collection of three waltzes written in different styles. The first is written with more traditional diatonic harmonies in the key of A minor. A beautiful melody is created over as well as within arpeggiated chords. Stevens repeatedly utilizes open strings within arpeggios that primarily remain in first and second position. Slurred bass lines and an area of syncopation liven the mood, as well as a brief deviation from A minor around the middle of the piece. The second and third waltzes are completely different from the first. The whole neck of the guitar is explored, as well as harmonics up to the nineteenth fret in both waltzes. Although the second waltz is written in D major, its mood remains unsettled throughout the piece and less traditional intervals are heard, such as chords built on minor and major second intervals. The voicings are quite beautiful throughout the second waltz, with the exception one passage in which an open first string E lies between an F and D, both played on the third string, which I think sounds strange in a melodic stepwise passage. The third waltz begins in E major and switches to A, back to E, then A, and finally resolves back to E. As in the second waltz, this is written with less traditional major harmonies and incorporates many harmonics. In conclusion, the three waltzes are melodic and very pleasant. As they vary so much in difficulty level as well as mood and style, they might be performed as separate pieces rather than played as a cohesive set. The first would be appropriate for an upper beginner-level guitarist and the other two would be better suited for an intermediate-level guitarist.

Amy Hite (Soundboard Magazine)


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