L'arche de Noé du guitariste (CD inclus) (niveau 2)
L'escargotLe cobraLe dromadaireL"éléphanteauLe chatL'oursLe condorLe chevalLe poissonLe bourdon«Dans ce recueil très joliment illustré, Christophe Leu propose dix pièces destinées à des enfants ayant déjà maîtrisé les premières difficultés techniques. Les partitions sont centrées autour du thème des animaux et l'ours, le chat, l'éléphanteau et bien d'autres bestioles y sont l'objet d'une savoureuse description musicale. À travers les pièces, on met peu à peu l'accent sur un point technique particulier comme les arpèges, les harmoniques, le legato ou les démanchés, tout en abordant d'autres tonalités que les trop habituelles mi et la mineur. L'excellent CD qui accompagne la méthode, très bien interprété, fournira à l'élève un modèle de choix pour travailler la sonorité, les différents timbres et la palette des nuances.»François Nicolas (Guitare classique)Characterful and carefully written to avoid technical difficulties, the ten descriptive miniatures here are suitable for younger players up to around grade five. This is a beautifully presented volume with clear notation and attractive collage-like illustrations. Each piece depicts an animal, with appropriate and contrasting techniques used throughout in a manner which easily captures the imagination. L'escargot explores elements of the A major scale with straightforward two part writing using mainly open bass strings.Le Cobra has sinister modal figures with effective tonal and dynamic contrasts. Le dromadaire has a similar feel, but is more demanding in its shifts and campanella effects, and L'éléphanteau, although perhaps less immediately entertaining to play, has effective displayed chords and sixth string glissandos. Played with a swing, Le Chat has a humorous jazzy feel the opening pizzicato bass line requires careful measuring but technical demands are limited. L'ours employs further pizzicato and is marked “ambience ukrainienne” ; Le Condor could prove popular, playing on El Condor Pasa and combining a variety of South American idioms including strummed passages. Le Cheval imitates the banjo, hints at Copland with its “rodeo” connotations and could be a useful start for a young player with ambitions towards a more advanced Wild West piece. Shorter and more delicate in style, Le Poisson moves up the fingerboard closing with harmonies. The final piece, Le Bourdon, alternates thumb and fingers across the first two strings and is highly effective up to speed. This volume is refreshingly different and could inspire many capable young players.Linda Kelsall-Barnett (Classical Guitar Magazine)
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