 == 1/4

 Eb; = 1/4 # (not notated) Deconstructing Dowland (full score)

b (not notated)

  
Preparation: Blue-Tack balls
7

      
q = 50
 
  
 
  
        


Guitar
  
mp
 
   
3
Computer

  
  
5  
 
 
3

   

3

   
4

        
        

            
Gtr.

 
mp
p
f Trem. hit


3 3 neck

    
from bridge move left
cmp

   
10             

 
3

 0 
8
         



q = 40
       


  
12

Gtr.

3

       
3
 
3
cmp
T1 (Manual trigger pre-prep sound, 33 seconds)

    
pull-off

         

Blue-Tack molto
    
 
 
11 slide vibrato
                         
RH


 



Gtr.
  sfz 
  p f
sfz sfz sfz
sfz sfz
f (sul pont)
  

 
sul pont
cmp  T2

(Activate auto trigger pre-prep sound)
 

 q= 50
3

  
( = 100)

   
  

art 2

   
         
3

   
15
 
     

         
     
  
 
Gtr.
    

mp
 
33  
           
cmp   T3 T4 T5 T6 T7 T8
(Manual trigger pre-prep sound for T3-T23. Accurate synchronisation required.)


 

3


19 
            



     

     
     
Gtr.
 



3

    
3
cmp
T9 T10

q = 40

      
     
      ( = 80)
   
22

   
 
Gtr.                   



  
      
cmp  T11 T12 T13
 T14
2

 3
 3
   
q = 40
    19    
         
( = 80)
     3 
       
25

            

        
Gtr.
  
    3
3

mf
f
 
3 mp
     
cmp  T15 T16


       3

 
3

3

   
       

28
     
            
       
          
         
 
Gtr.
     
 
f
  
f 3
3

 
f


 3  
mp
cmp     
T17 T18

    3
                            
     
               

     
 
31
 
            
 
 
Gtr.
 
          3 3 

3

cmp     

(clear and articulated)

3 3

       
   3    
      
 

  
3 3

       
33
   
            

         
Gtr.
     
 
  
      
 

  (f)
 
 
3
           
  
3
cmp
T19 T20 T21

q = 30 q = 40


 = 60  = 80
3
 
3
 
3

           
           
  
36

       
     
           
        
Gtr.
 (f)      
   
 3
      3       
cmp   
T22
   T23  


Don't roll chords unless marked. Careful with rhythm, articulations and rests 3

 
       3         
   

        
q = 120

         
39
      
     
  
    
  



     

Gtr.
  
f
  
 
   
   
3

cmp   T24  
(Cross synthesis between live guitar and pre-prep sound)
 3

 

 
    
molto vib.
     
            
molto vib.
     
43 3
               
       
          
  
Gtr. 


5:3e  
cmp


  3
 
 
3

 


T25 (Cross synthesis between live guitar and pre-prep sound)

  vib.      
       
3 5:4x
 
    
46 molto

 
                     


  


Gtr.
           


33 5:4x 3 f
   

mp
cmp      

11  

q = 80 (keep hammer-on clear)

   
    
3
 
molto vib.
     8 
50 q = 100
8        
        



 
   
 





  


    





Gtr. 
  
mp

 
   
cmp   
T26
  
(Cross synthesis between live guitar and pre-prep sound. Auto stop after 8 seconds.)

 r  l r    r  r
3

 
55
 r      
    r           l           
r r
    
             
r
 

     
r


Gtr.
 

cmp              

T27 (Manual trigger pre-prep
sound, 31 seconds)

  

 r  
  
  
 r    


     r     r 
60 r

           
r
Gtr.       
f (subito) sfz sfz sfz sfz

 
cmp       

  
retune in gliss

     
  
63
    
  
     


  
retune in gliss
  
   






Gtr.



    
mp (subilto)
cmp   


     
5

  
   
66

             
  


      
Gtr.

9 7
5

cmp

 
 

T28 (Manual trigger pre-prep sound, 16 seconds)
4

        

             
69 5:4x

          
   



Gtr.

  
f
mf

cmp      


q = 50


  
        
72

              
       

Gtr.

    
 

cmp   

   
NOTE: fingered pitch is not the sounding pitch

              
      

q = 50

            
74  

  
       
 
         3
 
    
Gtr.

3
 
           
cmp  T29 T30 T31 T32 (Manual trigger
(Activate auto trigger pre-prep sound) (Activate auto (Activate auto trigger pre-prep sound) pre-prep sound,
trigger pre-prep sound)
5 seconds)

       
         
  
  
78
 
          
  
        
 
   
Gtr.

  
cmp   
T33
 
(Manual trigger pre-prep sound, 24 seconds)

 
18   
10  5 11
10 
q = 102
        
     
9
 
81 (check tuning, 18

  
11



take time needed)

  
 
10
Gtr. 10
           
f
8


cmp     


     3
Pizz
8             
3

    
83
       
  
          

   
    
Gtr.

10

 nat.


sul tasto 9 f
mp 3

cmp     T34 (Manual trigger pre-prep

   
sound, 21 seconds)

                  


nat.
   
          
5:4x

 
 
85

  
  
      
 
 
Gtr.

p  5:4x
 
5:4x 3:2x

cmp

  
f



 5

87
   
     5:4x q = 90

             
Gtr.   
3:2e
  sul tasto
5:4x
  
 
p
cmp     
pizz

3

 
q = 90 pizz
   
19
  nat. 
  
15
         

90 5 19

                  
nat.
      
   
Gtr.
  

5 3

  


cmp   T35 (Manual trigger pre-prep sound, 27 seconds)
 
5

8     
= 100
 gentle


92
8
  
q = 50
  

  8     


 
    

Gtr.

  
cmp   

= 100
  = 120
 molto vibrato
q = 50 legato (as possible) pizz
  
94 pizz 3
  

 q = 60

 
Gtr.          
    3     
p
 3 sfz
 3  
 

cmp    T36
(Manual trigger pre-prep sound, 12 seconds)


97 
   
         
5 3

             


Gtr.                 

 

sul tasto Detune
pp p ff = Eb;

    
= 1/4 # (not notated).
cmp    

= 100 3

                                
q = 50 7:6
101  
   
3:2

            
  
   

 
Gtr.

mp 
   3  sfz 

3

  T37   
3
 
7:6
cmp   
(Start record)

           r     3:2 


7:6
104

   
        
        
 
Gtr.
 
sfz

   
cmp        
 
6


                           

5:4
107
  
      
 

 
Gtr.

   
 
         
sfz
cmp 

                                               
7:6

  
109
    


          

Gtr.
5:4
5:4   5:4
sfz
  
sfz
cmp     T38
 
(Stop record)

 
  
     
    
l 3:2

   
l
             
l r l r
r


112 7:6
              
   
 
       3 sfz sfz   

Gtr.

5:4
f 7:6
mp
    sfz
            
sfz sfz
cmp   T39 T40 (Cross synthesis of live guitar and recorded section)
 
(Manual trigger
pre-prep sound, 2 seconds)

 

                        


   
    
l r
3:2

 
117 sfz
            
 
       
Gtr.
  3 


7:6
7:6 sfz sfz
3

cmp               

     
         
   
    
121 sfz

               
 

Gtr.



     


sfz


 
sfz

       
         
5:4
cmp  T41
 T42
 
(Manual trigger pre-prep sound, 4 seconds) (Manual trigger pre-prep
sound, 5 seconds)


 
               

               
l r l

  
7:6


125 
     
 
    
Gtr.   
 

 

mp 5
3 mp
5:4
f
from bridge move left
   
5:4





f
cmp         T43
 
(Manual trigger pre-prep sound, 7 seconds)

  
        
 
  5
 

molto sul tasto 3
130

            
5

      
 

 
Gtr.

19 (with r-hand thumb) 


 
 f
 

6:4x

cmp

       
from bridge move left
      

T44 (Manual trigger pre-prep sound, 59 seconds) T45 (Manual trigger pre-prep sound, T46 (Manual trigger pre-prep sound, 4 seconds)
4 seconds)
 
 
 
             
 
 
7
133  
 
 
    



       
 
Gtr.

  
5:4y 5:4y

from bridge move left   

          
   
5 5
cmp   
T47
 T48 (Manual trigger pre-prep
(Manual trigger pre-prep sound, 5 seconds) sound, 7 seconds)

            
hit top

 
Trem. hit


 
 
of neck neck

        
 
136

    

(LH)
   

Gtr.
mp 
       
cmp   T49 T50 (Manual trigger pre-prep
(Manual trigger pre-prep sound, 81 seconds)
sound, 14 seconds)

  
                 
3:2y

 (LH)
hit top


(LH) (LH) of neck
 3:2y
     

139
 
Gtr.             

  
 
3

p f
move dampening /
from bridge pizz hand from right to left

   
from bridge
move left
 
move left
cmp
T51 (Manual trigger pre-prep sound, 12 seconds)

= Eb 
Re-tune: = E      
   
3 3

 
q = 102 14
   
3



 
142

     
(quickly, but take time needed)


      

 


      
Gtr.

f 

cmp    T52
 
(Cross synthesis between live guitar and pre-prep sound)
 


  0



 
19

    

  
 
13 10
    
144 VII

  
  

11
         
       






   
Gtr.
 

3
pp
   
f
cmp    
(Cross synthesis between
T53 live guitar and pre-prep sound)


 
7:6x

5:4x
147  
  7:6x  
        
 
              


     
  7  
Gtr.

5:4x
  3

cmp       
art harm
10


   
17

    
 
5:4x
     
   
XII

   

151
             
   

 

  0        
  

Gtr.

9


   7:6x
cmp  T54 (Cross synthesis between live guitar and pre-prep sound)
   
8

 5:4x
  
CII


  
 12             
155

9

            
         
15
 
 07
Gtr.
 mp  
5:4x

  T55 (Cross synthesis
  
cmp     between live
guitar and pre-prep sound)


            
    
159
   
 
         8  
   11       
         
Gtr.
0

cmp     T56

(Cross synthesis between
 
live guitar and pre-prep sound)

VII
 CIII
  
             
    
                  
162 3:2q

Gtr.    
      
   
 
   

 

3
p

cmp      

 
 5    
           
166
         
           



Gtr.
     
sul tasto
 pp   
5:4e  molto sul tasto
cmp       