Ce produit n'est pas disponible en format pdf. Dans ce nouveau volume, l'apprenti guitariste est censé savoir ses notes dans le premier quadruple sur les quatre premières cordes. Il apprend ici les derniéres notes sur la cinquième et la sixième corde. De petits morceaux en solo et duo ainsi que des formules de rythme viennent acclimater ces nouvelles acquisitions. Sont en suite épluchés sous forme de courts exercices sympathiques, des arpèges, des simultanés, des alternances p i p m, des groupes de deux sons avec i m m a, le tout toujours ponctué de solos et duos dont les auteurs sont nos collègues canadiens Isabelle Héroux Francois Castet, Claude Gagnon mais aussi Sor, Carulli, Carcassi, etc... Plus loin, d'autres techniques plus difficiles sont abordées dont liaisons et mordants. La fin consacre de nombreuses pièces au cinquième quadruple ainsi qu'aux déplacements sans oublier le petit barré, les accords plaqués et les gammes. On a là une méthode riche et complète où la musique est diversifiée et intéressante - un bon compagnon pour les deuxième ou troisième années. (Dominique Marie, Les cahiers de la guitare, 2e trimestre 2002) I really like this book and may well search out volume I as well. This method continues the early student's development in first position with bass notes on the fifth string - it appears the first volume must cover things pretty thoroughly not to have got there already. There are specific line exercises to introduce new notes and concepts throughout and attractive student/teacher duets. Text is kept to an absolute minimum - this is material to work through with a patient, conscientious teacher. Stopping bass notes is introduced on the second page, along with simultaneous bass and treble playing, and, soon after, alternation of thumb and fingers leading to a simplified Asturias theme (good for the student who wants to play a 'real' piece). Some studies by Carcassi, Sor, Carulli and Kuffner are reproduced along with pieces by contemporary guitar teachers including Francois Castet, whose material has impressed me before. Second, and fifth position on the treble strings, are covered in a systematic fashion, and the last pieces - a Sonatine in duo form by Beethoven, Etude by Sor and Vidalita by Castet are well chosen and contrasting, with the last requiring tambour. A useful technical section with arpeggio patterns and finger exercises brings this excellent method to a close. Presentation is good but occasionally cramped, and would be appropriate for the older child or mature student. However, all the material is adaptable and I will be using it a lot. Highly recommended. (Linda Kelsall Barnett, Classical Guitar Magazine, April 2002)
