This is set for five guitars and contra (in treble clef); replacing the contra with an ordinary guitar wouldn't be a disaster musically, so it's accessible to large groups generally.
It's not a difficult piece. In Full Score, it looks rather oppressive, but in part score, patterns start to appear that show that there is repetition and structure that will quickly yield to a little practice.
But this isn't just a big wall of repeating sounds - there are interesting changes of rhythm especially at the conclusion, where bars of 8/16 and 7/16 alternate. The music is divided into sections, both musically and with double bars and rehearsal marks.
Opening with spacious, gentle rhythmic patterns and pleasing chords, the mood is pastoral and relaxed. A move to the minor key presages a more agitated section with metallic plucking adding to the mood.
A cantabile section with triplets sees yet more close harmony chords that shimmer behind a weaving melody before returning to the darker mood a second time.
The closing section is vivace and the challenge here is not in the busy bars of 7/16 but in those parts where the bars are less busy; the players will need to count carefully to stay synchronised.
Although the overall standard is not high, there are one or two places where technique around the Grade 6-7 mark will be needed in order to bring the relaxed confidence that will make this piece blossom.
Writing for six guitars in the limited pitch range of our instrument isn't easy, and this is an excellent example of how close-harmony chords and rippling textures can be built from surprisingly humble components and to great effect, Some of the sunshine moments in this piece are glorious!
Derek Hasted (Classical Guitar Magazine)
