The title is borrowed from an essay by Sean Scully about the Italian painter Giorgio Morandi. I am drawn to Morandi’s still-lifes from the 1950s, which feature bottles, boxes, or vases painted in subdued colours, and which consistently present the same objects from one painting to the next, differently arranged, or with different aspects of the objects emphasized slightly through light and shadow. For me, these characteristics are part of a fundamental ‘between-ness,’ where the paintings inhabit a borderland between representational and abstract art, where their pale colours tread a line between one hue and another. I want to walk some of the same ground with this work for solo guitar, when I ask: how does a piece of music inhabit borderlands? What are the gray areas between sound and silence – tone and timbre – movement and stillness?