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Flûte & guitare

Guitare & flûte (ou clarinette ou violon)

Senteurs Caraïbeshttp://www.productionsdoz.com/fr/senteurs-caraibes
Concertangohttp://www.productionsdoz.com/fr/concertango

2 Guitares

La Fiestahttp://www.productionsdoz.com/fr/la-fiesta
Adios Muchachahttp://www.productionsdoz.com/fr/adios-muchacha

Guitare seule

Couleur localehttp://www.productionsdoz.com/fr/musique-de-la-guyane-couleur-locale
C’est la fêtehttp://www.productionsdoz.com/fr/musique-de-la-guyane-c-est-la-fete
4 pièces Latino Caribéenneshttp://www.productionsdoz.com/fr/4-pieces-latino-caribeennes
Romancehttp://www.productionsdoz.com/fr/romance

(Hommage à Matéo CARCASSI)

1 - Cariño

2 - Chôro n° 2

3 - Mazouk (Hommage à Mario CANONGE)

4 - Paseo en la Habana

Chanson et dansehttp://www.productionsdoz.com/fr/chanson-et-danse

(Dédié à Javier QUEVEDO)

(Dédié à Franck BILOT)

(Hommage à Astor PIAZZOLLA)

(Dédié au CODA DUO)

Duo Tangohttp://www.productionsdoz.com/fr/duo-tango
Habana Vieja
(Dédié à Berta Rojas)http://www.productionsdoz.com/fr/habana-vieja
92 - 97
1er de composition 
Carrefour Mondial de la Guitare (1998)http://www.productionsdoz.com/fr/92-97

Trios de Guitares

À la piscinehttp://www.productionsdoz.com/fr/a-la-piscine
Trio sans titrehttp://www.productionsdoz.com/fr/trio-sans-titre
Trio pour marshttp://www.productionsdoz.com/fr/trio-pour-mars

Fabrice Pierrat is a French guitarist who is one half of Duo Amazone along with flautist Michaelle Ngo Yamb Ngan and presumably he wrote this for their partnership. He seems to specialise in composing and arranging music based on South American rhythms so here we have a skillfully-composed tango definitely of that kind.

Duo Tango brims with many and varied rhythms, nice melody lines and lots of interplay between the two instruments which, technically are on the same level. The work is thoroughly enjoyable and skillfully constructed.

For several years now there has been a revival of that most enigmatic musical form, the tango, most notably tango nuevo and as this piece captures the characteristics of this style in such a brilliant manner there is no reason why Duo Tango should not become a standard amongst advanced flute and guitar duo.s.


Steve Marsh (Classical Guitar Magazine)

On first steady read-through this entertaining little jazz/latin-inspired piece seems easyish and relatively secure on the fingers then one notices that the tempo is set at crotchet = 92 so the comfort zone suddenly gets less comfortable. However, with careful working out of the fingering (for both hands) the work isn't as daunting as the speed would indicate and should be suitable for the grade 5 player.

Couleur Locale has a joyous flavour with the alternating bass notes underpinning some pleasing little melody lines and is one of those pieces which would suit many an occasion; 'fun' encore item, informal concert, folk club etc.

The score is nicely presented with a sensible amount of left hand fingering.


Steve Marsh (Classical Guitar Magazine)

I can't imagine any piece which is more fitting to this title; this is definitely “party time”. Centred around the key of E major this high-spirited, cheeky and cheery composition exudes happiness in droves, its exotic rhythm, simple but effective harmony and nice tune makes this a perfect choice for any informal recital for the Grade 5 player. Not much else to say on the matter ... loved it!


Steve Marsh (Classical Guitar Magazine)

"Romance has as a sub-heading: 'Homage to Carcassi' and everyone who has played this renowned 19th-century Italian's guitar studies will easily recognise that this piece is very much based upon Matteo Carcassi's Étude 3 in A major. Several years ago I had the dubious pleasure of reviewing an appalling version of this self-same study but played in 'swing' style and upon setting eyes on this score by Fabrice Pierrat and noticing the 'homage', alarm bells rang once more; however, all is well here and Pierrat's tongue-in-cheek slant on this piece actually makes it a

Reggae Fusionhttp://www.productionsdoz.com/fr/reggae-fusion

Quatuor de Guitares

It's funny how the title of a work fires the imagination with how it's going to sound. I opened the edition expecting 4/4 time, deep bass, off-beat chords and a bluesy melody, and was greeted by one guitar in 12/8 playing a few natural harmonics. The music slowly creaks into life with some decoration that has beat two missing, and then a bass line with beat three absent, and finally those chords, albeit very consonant ones. Now that the piece is moving, we can see Guitar 4 usually plays bass but has a phrase or two in arpeggios. Guitar 3 usually plays chords but also has a few arpeggios. Guitar 2 is frequently playing countermelody to Guitar 1. The music is structured in four-bar phrases that are repeated almost everywhere, so the work is getting on for double the 82 bars of print, and the part-scores are just a little bit too dense on the page, in the push, I surmise, to save a page turn. Musically the piece is lyrical, with straightforward syncopation that's not hard to get precise. The harmonies tended to be a little more jolly than I was expecting, though there are some sophisticated chords worked into the piece, together with a rather unexpected key change from G to Eb close to the end of the piece which comes back to the home key with some cunningly concealed triplets. The piece concludes with harmonics in much the way that it began. Before the piece concludes, Guitar 3 plays the last half of Big Ben's chimes, though a little quieter and higher in pitch. So, despite what its title might suggest, this is a piece that begins quietly, ends quietly; it spends its entirety between pp and mj. Fingering is sparse, but welcome in understanding where best to play some of the phrases. The music isn't hard, but there are one or two chords where the little finger needs more dexterity than a learner might yet have, and so I'll veer on side of caution and say that this would suit Grade Five players, though a less-skilled team could conquer the piece with practice and perhaps thinning out any chords that refuse to sing out cleanly.

Derek Hasted (Classical Guitar Magazine)

SONATE
Hommage à Domenico SCARLATI
(Dédié à David RUSSEL)http://www.productionsdoz.com/fr/sonate-pierrat-2323

HABANA VIEJA for solo guitar by Fabrice Pierrat

Habana Vieja (dedicated to Berta Rojas) is one of those pieces which grab you from the start. The opening bars set the rhythmic style for a good chunk of the piece : that is of staccato bass line whith broken chords / melody played above, the hemiola style of writing giving the work a definite South American character.

    There are some lovely effects throughout - suden brief bursts of tiplets : campanella moments : little melodic phrases emerging out of all the rythmic arpeggios. This is a really engaging and delightful new work from this highly skilled French guitarist / composer.

    On first read-through the piece seems not too difficult, that is until one spots the intended tempo (dotted minim = 60) which takes it into the realm of the Intermediate-plus player but even taken at a slower speed the composition is still a nice one to play.

   Recommended.

Steve Marsh (Classical Guitar Magazine)

UN LONG CHEMIN (Dédié à Jocelyn TRIAC)http://www.productionsdoz.com/fr/un-long-chemin
CONTRASTE
 (Dédié à Michel CAMILO)http://www.productionsdoz.com/fr/contraste
TANGO PARA CACHO
 (Dédié à Cacho TIRAO)http://www.productionsdoz.com/fr/tango-para-cacho

"In the opening section of Adios Muchacha there's a distinct melodic similarity to the dramatic Michael Carr composition Man of Mystery, which was used in the 1960s as the theme to the 'Edgar Wallace Mysteries' series of films. This tune was also a hit for the group 'The Shadows' who, coincidentally, included a piece, also titled Adios Muchacha, on their 1972 album 'Mustang'. Anyone who can remember this Carr composition will know that it is a very captivating tune, as is this similar one by Pierrat. The tango rhythm established in the first section is carried on through the next two sections with, once again, strong, attractive melody lines. This is a most appealing work which, due to its brevity, would make an ideal encore and leave the audience with one of those tunes which stick in the memory for days on end. My one small quibble is the fact that guitar two plays the accompaniment throughout, leaving all the single-note melody lines to guitar one; it would have been nice to share the responsibility a little more perhaps. Due to some of the difficult stretches required in the accompaniment, this duet is really only suitable for the grade 6-7 players."

 Steve Marsh (Classical Guitar Magazine)

"Having seen a good number of works from this fine composer I was eager to see this latest book and it does not disappoint. Set in five movements it takes its basis from the style of music which might accompany Charlie Chaplin during his silent films. So you get Little Tramp; marked 'Giocoso' with its almost Latin feel, which has a general air of absurdity in some of its musical elements, and widely changing moods. It is followed by A Charming Young Lady which is a deliberately over-emotive little piece in 6/8 that wears its heart firmly on its sleeve. A Narrow Escape from the Law is third and begins with strummed diminished chords, just like in the old films! This piece dives around with much abandon, and is a great deal of fun, whilst not being easy either. Meeting her Again, Proclamation of Love is the rather unwieldy titled fourth movement and takes the form of a tango that definitely doesn't take itself too seriously; whilst the final She Says 'Yes', is a comic scherzo beginning with a whole pack of augmented fourths running up and down the fingerboard, before becoming a mock serious waltz, which has the knack of ending its melodic phrase on a deliberately wrong final note. This would delight an audience. The music is warm and friendly and with enough comic elements in it to be almost visual in appeal. It is of moderate difficulty but lies so well under the fingers that it is a little easier to play than it looks at times. This is a super piece of writing from this composer. Do give it a try."

Chris Dumigan (Classical Guitar Magazine)

Valse pour NATHANhttp://www.productionsdoz.com/fr/valse-pour-nathan

Guitare & flûte (ou clarinette)

6 PIECES FACILEShttp://www.productionsdoz.com/fr/6-petites-pieces
ADIOS Mr. SAX
(À la mémoire d’Olivier de MONTRÉAL)http://www.productionsdoz.com/fr/adios-mr-sax
5 saveurs de Guyanehttp://www.productionsdoz.com/fr/5-saveurs-de-guyane
Valse pour Mikihttp://www.productionsdoz.com/fr/valse-pour-miki

Publications

CONTACTSContacts.html

very attractive and pleasing work to hear and play through. Romance is, if you like, a contemporary variation upon the original study. The opening bar is an exact copy but thereafter all is from the inventive mind of Pierrat and it has to be said that he has come up with some very alluring sounds here and made this a most desirable piece of music. This piece could easily be used as a latter-day counterpart to any student studying the original; it could also be a possible choice for players who perform in the restaurant/hotel situation. The score is neatly presented, contains sensible fingering and is of around the Grades 4-5 standard. A little gem!"

Steve Marsh (Classical Guitar Magazine)