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ProduitsPartitions pour guitareGuitare et un autre instrumentMi silencio / Yo que no siento ya

Mi silencio / Yo que no siento ya

Mi silencio / Yo que no siento ya

Compositeur: CORDERO Ernesto

DZ 1316

Intermédiaire

ISBN: 978-2-89655-215-3

Guitare et voix

12 p.

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Description

Ernesto Cordero's compositions create an instant impression because the writing is firmly embedded in a recognisable Latin American musical style. They are tuneful and flowing and full of passion. He uses the lyrics of two different poets, Mi Silencio (My Silence) is a Bolero inspired by the text of the Puerte Rican Luz E. E Acevedo, while Yo que no sienta ya, (I feel no more) is based on a poem by the Spanish poet Gustavo Adolfo Becker. They are both written in the Bolero binary pattern. The guitar part is very attractive in its own right, although it is probably too difficult to be used as self accompaniment. The vocal range is for medium to high voice, and would be best suited to an expressive tenor or high baritone voice. The tessitura of the second song is higher than that of the first, which may cause problems for the vocalist. For the vocalist the standard is around grade IV and above. For the second song particularly, there is a liberating feel to the guitar part as the body of it moves on effortlessly, and he doesn't overload the accompaniment. It is also probably the easier of the two. The standard for the guitar is around grade V and upwards and includes short interludes where the guitar is playing solo. In the first song there are quite a few cross rhythms, crotchet triplets set against a quaver movement in the bass. These need skilful handling to get the correct effect.
Both texts are in Spanish, with no translation, but the upbeat nature of the music suggests that nothing too tragic is referred to in the text. [Cordero] was born in 1946 in New York but raised in Puerto Rico home to the Puerto Rican Cuatro in which he has a keen interest. He also has a diverse and rich catalogue of works in other genres.
His songs sound familiar, but it is difficult to say where you heard them first. 
Sandra Hambleton Smith (Classical Guitar Magazine)

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