Letters from Zeddelgehm’ derives its title from David Mitchell’s novel ‘Cloud Atlas,’ although the piece has a Spanish flavour, I found the chapter it materialized from fit contently in this context. Explored through the next three minutes are different ways in which one can play guitar, both as a stringed instrument and as a form of expressive percussion! Below is a chart detailing the different ‘strikes’ that will be utilized In bars 33-47, there is a percussive solo tossed between the guitarists, allowing for a level of showmanship and improv. I am adamant that the individual personalities of each guitarist should shine through. There is a melody within the percussion; feel free to add your own strikes and play with the pattern. However, it is important that the general outline of low- and high-pitched percussive sounds is adhered to. The rhythm is more of a guideline during the percussive section beginning in mm. 34. Play funky, especially gt. III!
This piece is the second of three movements from the guitar quartet, ‘ Murmers on the Rooftop.’ The ethereal quality created by the use of harmonics lends itself to a conversation I had with myself while sitting on a rooftop. It was early morning, and the world was waking up around me. I had stayed awake all night after saying goodbye to a friend. In the beginning, a rain effect is represented by rising, sustained, and falling black cells. The players will create the sound by rapping their fingers of both hands on top of the soundboard. The rain effect should last between 20-30 seconds but no longer, as it may become fatiguing to the ears. Each player should follow the notation as a guideline, as rain is measured in millimetres… not bars and beats; keep it free. The harmonics used throughout are fingered as if you were playing those notes themselves, but with the artificial harmonic played 12 frets above as a partial. Amplification may be required to adequately sound the harmonics, as the volume tends to be lower than preferred. For a deeper quality, I suggest tuning the guitars to E-Flat standard and, respectively, to Dropped-C#. Guitar IV – 8 string tuned A, D, E, A, D, G, B, E.
This is part three of this guitar quartet. From bar 62 onward, guitars 3 + 4 will sing long notes over their playing. These notes can be found in the extra part. Important in this piece is stark subito contrast; try to exaggerate dynamic markings and even take some into your interpretation.
