Sunday, October 28, Elogio de la Danza, part 4 I have met Leo Brouwer a few times and played for him in a master class on two occasions. On one of them, I am pretty sure I played the Elogio. At this point in time, I barely recall anything that he said, except we did talk about my somewhat eccentric sitting position where I leaned into the guitar a lot. That is one thing I have modified over the years.
|Published (Last):||9 May 2017|
|PDF File Size:||5.55 Mb|
|ePub File Size:||11.69 Mb|
|Price:||Free* [*Free Regsitration Required]|
Sunday, October 28, Elogio de la Danza, part 4 I have met Leo Brouwer a few times and played for him in a master class on two occasions. On one of them, I am pretty sure I played the Elogio.
At this point in time, I barely recall anything that he said, except we did talk about my somewhat eccentric sitting position where I leaned into the guitar a lot. That is one thing I have modified over the years. In any case, here is a photo of me with Leo in a master class in Toronto in, I think, Having established my bona fides Heh! The movement is basically a three-part form: ABA. We have covered the A section. The next page acts as a contrasting B section.
After the "stacking" motif and a repetition of the motif with the tapping on the bridge, a new motif is introduced: If this looks familiar, that is because it is using the intervals of the "stacking" motif: 4ths rising to 5ths, but with the addition of a minor 3rd.
Interspersed with variations on this basic idea is a new idea, a rasgueado chord: This too is not new as the chord is mostly the same as the one arpeggiated at the beginning of the movement: Same notes, but with an added C. How to execute the rasgueado is indicated in the score. I suggest that you strum across the strings away from the bridge where there is less resistance--over the soundhole at least. No indication is given for how to do the golpe. I suggest that you do the eighth rest by touching the left hand side of your thumb to the strings to cut the sound, then do the i strum.
Then slap the strings and body with the flat of your hand before coming back with the i again. It works for me. This kind of chord-plus-golpe is very common in popular Latin American music. These two ideas, the rising motif and the rasgueado, alternate with rhythmic variations then a final idea is introduced: This sounds like a new idea, with a lot of chromatic decoration, ending with a tritone. After one last statement of the rasgueado chord, the motif is extended and varied, ending again with the tritone.
The last page simply repeats the beginning, ending with a chord built of 4ths and 5ths. The Elogio de la Danza is quite a perfect piece in its way. It is brilliantly and creatively written for the guitar, nearly everything falling easily under the fingers. It has a number of unique textures and ideas. It is solidly founded on the folk music of Latin America and draws upon a number of traditional techniques. Finally, it has a harmonic palette that is quite original and gives the piece a unique sound.
Except for the fact that this piece is fairly short, it corresponds to the place of the Rite of Spring in the output of Igor Stravinsky. Immediately after this piece, Brouwer moved into a quite different idiom with his Espiral eterna, a piece inspired by tape loops, Stockhausen and Ligeti.
If I get ambitious, I might do some posts on that piece as well. This is a very clean and accurate performance by the Czech guitarist Vladimir Mikulka: There is just one surprising omission: he does not do the second golpe together with the 6th string open that is one of the characteristic motifs in the Obstinato movement.
This piece, Elogio de la Danza Homage to the Dance , comes from his earlier years, but already exhibits a fairly advanced expressive manner within its tonal framework. It is cast in two movements, each having a duration of about three minutes. The first is marked Lento, while the second, an homage to the famous Ballets Russes of Serge Diaghilev, carries the designation Ostinato. The work opens slowly and tentatively, Brouwer content to create a dark atmosphere before introducing dance elements. A lively rhythm soon appears, but the music still struggles to get going, at times becoming animated, at others slackening off and turning timid and ponderous. This section ends with the music fading into a grayish mist, the ensuing movement proceeding without pause.
Leo Brouwer – Sheet Music and Lessons for Classical Guitar
Arashibei Have one to sell? Rito De Los Orishas. I Lento- the careful use of contrasting accents bar 7 and overall dynamics which range from danzaa to ff. This piece, Elogio de la Danza Homage to the Dancecomes from his earlier years, but already exhibits a fairly advanced expressive manner within its tonal framework. Follow the Author Amazon Renewed Refurbished products with a warranty. Amazon Second Chance Pass it on, trade it in, give it a second life.
LEO BROUWER ELOGIO DANZA PDF
Se trata del Elogio de la Danza, escrita en por el guitarrista y compositor cubano Leo Brouwer n. Elogio de la Danza forma parte del repertorio concertista de renombrados guitarristas, y se ha convertido en una obra obligatoria de concursos de guitarra y programas de estudio en universidades y academias de todo el mundo. Apuntes sobre la estructura Elogio de la Danza posee dos movimientos, Lento y Obstinato. El del c. Ahora bien, en el c. En los c.