SIX PIECES for GUITAR ENSEMBLE PLEASE BEGIN - Via Robert Fripp

SIX PIECES FOR GUITAR ENSEMBLE PLEASE BEGIN - via Robert Fripp The ensemble is attentive, present, and silent. At the right moment, the group leader says, “Musicians, when you are ready, please begin!” A spontaneous group improvisation begins. The ending is indeterminate. MUFFLE SHUFFLE - via Patrick Grant Polyrhythmic interlocking grooves played on dampened strings. This piece is meant to emulate the drumming of West Africa. This piece begins with the group leader playing the 4/4 “Stopped by a Cop” rhythm: X . X X X . ...by strumming dampened strings. Other players then join in on this rhythm. Staying locked into the same pulse, players start adding their own rhythms in different time signatures: 2/4, 3/4, 5/4, 6/4, 7/4, etc. A vocabulary of suggested rhythms might be useful. It’s important that each individual rhythm never get too busy with added 16ths, triplets, etc. The effect of this piece is in the layering of many simple elements. After the piece “peaks,” through a signal TBD by the group leader, all players eventually return to the original 4/4 rhythm. The piece ends on a signal from the group leader. GROUP LOOP - via Steve Ball Key and time signature can be chosen in advance. For the sake of example, E minor in ¾ will be used here. Player 1 plays a 2 bar loop and keeps it going. After 2 repetitions, Player 2 does the same. This continues around the circle until everyone is playing a loop. Each player’s loop should remain constant, just as if done by a digital effect. When the loop comes back to Player 1, he begins a different loop. Each player does the same when their turn comes around to them. The ending is indeterminate. MAJOR/MINOR MADNESS - via Patrick Grant The group decides on a major/minor tonality based on one of the open strings of the guitar. For this example, E major/E minor is chosen and a time signature of 4/4. The group leader counts in “One-two-three-four!” and everyone begins. The players are encourage to play as wildly as possible as long as care is given to stay within a group groove: listen. The group leader counts out “One-two-three-four!” and everyone ends on their final note. The piece should last under a minute. FOUR TO THE FLOOR - via Steve Ball In 4/4 The Full Ensemble begins on a count of 4. The key doesn’t matter, just keep a groove. All players play for a total of 4 bars. Duets begin: Two players, separated by at least one other player, play a duet for 4 bars, in this example, Players 1 and 3. These players finish as the next two in the sequence do the same - play a duet for 4 bars. In this example, Players 2 and 4. Then, the Full Ensemble plays for 4 bars. The duets continue around the circle where it left off. In this example it would be Players 3 and 5, then Players 4 and 6, and then back to the Full Ensemble. When this process has gone around the circle, the Full Ensemble plays 8 bars (4 x 2) until the group leader cues then with a 4 count and everybody hits their final note/chord. Variations include: a. the choosing of a designated key b. done in trios if the group is large enough c. a different time signature if agreed upon in advance EZ-THRAK - via Robert Fripp Players are divided into Group 1 and Group 2 playing barre chords TBD. 1. Group 1 plays a rhythm in 5/4. As eighth notes, it is broken down as 3+2+3+2: x..x.x..x. 2. Group 2 plays a rhythm in 7/4. As eighth notes, it is broken down as 3+2+2+3+2+2: x..x.x.x..x.x. 3. To create one cycle, Group 1 plays its 5/4 pattern seven times and Group 2 plays its 7/4 patter five times. It is a 35-beat pattern. Represented in 7/4, the overall pattern looks something like this: There are many ways to represent this pattern graphically. This is one way. 5/4 would be the flipside of this kind of representation. There are many others. Everyone has their way. With this rhythm as a base, players can create a number of variations with chord changes, Groups 1 and 2 alternating their rhythms, and numerous other breakdowns. .

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