chord sequence with interruptions for unamplified electric guitar Dominic Lash 2013

chord sequence with interruptions
for unamplified electric guitar
Dominic Lash
2013
for Matthew Hough
This piece consists of a slow sequence of 72 chords, given on the two chord
sequence pages, which is interrupted seven times.
The chords are to be played with the fingers (plucked simultanously, not
strummed), as quietly as possible while still giving all four notes equal weight. The
pace is slow – every chord should be completely allowed to die away before
moving on, and pauses may be longer still.
The interruptions can occur whenever the player desires, but there must be at
least one chord between each interruption.
The interruptions are of two types: plucked single notes and sustained tones. One
type of interruption has four variations and the other three. These variations must
occur in the order indicated, but the two different types of interruption need not
always alternate (though they may).
The first type of interruption consists of single notes plucked with a plectrum (see
the plucked interruptions page). The volume of all pitches should be matched to
that of the quietest harmonic. All notes should overlap as much as possible, but the
player should also wait as long as possible before sounding the next note, insofar
as this is compatible with the requirement to overlap. Where overlapping is not
possible, the note(s) should be allowed to die away completely before moving on.
The second type of interruption consists of the F on the 13th fret
of the high E string played with an ebow.
The first time this interruption occurs the sound
should be as quiet and pure as possible.
The second time, the player should periodically begin gently whistling a tone that
almost matches the F, so that beatings are generated. (These pitches
may be different for each whistle, but do not glissando.)
The third time, the player should stop the note back from the
fret so that the string buzzes against it; try to make
the buzzing as rich and consistent as possible.
Each of these sustained-note interruptions is to last for a long time: long
enough that the memory of the piece up to that point is almost forgotten,
The piece may end either with the final chord or with the conclusion of the final
interruption, depending on the choices the player has made.
Bristol, 16/5/2013
chord sequence
Dominic Lash
raw material
  
  





6
5
4
3
 
 

10

3
6
5
4
 
 


18







 

5
6
4
3

 


6
4
5
3
3
5
6
4
6
4
3
5



5
4
3
6
4
5
3
6
















4
5
6
3
6
5
3
4
5
6
3
4
6
3
5
4
5
4
6
3











4
6
5
3

 


5
3
6
4
3
4
6
5












4
6
3
5



6
3
4
5






5
3
4
6
3
5
4
6




3
6
4
5
4
3
6
5








4
3
5
6
3
4
5
6
permutated
  
 


25

6
3
4
5
 
 


34

4
3
5
6


 





5
6
4
3




4
6
3
5
4
5
6
3











6
4
3
5
3
6
4
5
3
6
5
4







 






5
3
4
6
4
5
3
6
3
5
6
4
3
4
6
5







5
4
3
6





5
3
6
4
4
6
5
3




6
5
3
4
2
 
 


41

5
6
3
4
 

 

49

12
9
10
11
58
9
8
10
11
 
 


66





6
4
5
3
5
4
6
3




3
4
5
6


6
4
5
3
12
14
11
13






 




14
13
15
12




6
7
8
5
5
6
4
7
6
7
8
9








3
5
4
6
6
5
4
3
6
3
5
4



15
13
12
14



2
4
5
3






 
4
3
6
5




12
13
11
10
6
4
5
7









permutated and transposed
 


 









11
14
12
13
1
4
3
2
3
2
5
4




10
8
11
9



9
11
10
12



12
11
10
13








6
7
9
8






6
8
7
5




10
9
7
8




10
9
8
7
5
6
3
4



4
1
3
2