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"Out of Africa"

for solo guitar

I.

Call at Sunrise

h78 (hk=52)
lunga
U
.
w.

Ben cantando,
calmo e espressivo

# 3
V 2
p sempre sul
#

V
5

3
45

V
8

alone
# Right Hand
5 0
V
4
8

U
.

lunga

# o
V

norm.

, allowing other strings to sympathetically resonate

88

8w
8

43

gradually cresc. to m. 36

(square noteheads = "hammered-on" notes)

Left Hand alone

(diamond noteheads = RH artifical harmonic technique--here used to play natural harmonics)

14

Alan Thomas
(2008)

0
0

45

# 5
V 4 22 . . 32

18

# 3 2 1

V 2 w
3
.
24

cresc. poco a poco

4
2

22

Copyright 2008 Alan Thomas. ALL RIGHTS RESERVED.

Please notify the composer of any public performances of this work by emailing info@alanthomas-guitar.com

j .

V

.

j .
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J

#
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27

31

accel. poco a poco

accel. poco a poco

(sempre cresc. poco a poco)


. J
16
8

h
# 16
j
j .

V 8 .

. J

J
Tempo giusto

35

(from here to the final section the beat-feeling varies between the half-note, quarter-note and
dotted quarter-note--as is generally indicated in the beaming)

j
12
V . 8

. J
F
37

. . j
w

6
J J
8
J
w.

ben cantando

j

# 6 . j 10 w
8
6

V 8 .
8 8 8 . .
J

J
w
40

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j4 j
4
4
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.
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12
14
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8
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0
2

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44

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j 14
# 14 12 w
.

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V 8

8
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47

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# 14

12

16

.
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8

8
8
.

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50

# 16
j
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V 8 . . .
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53


>

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#
o
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56

>>
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>>
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88 12
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# 12 . w
V 8 J
8 .
8
J
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w
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61

marcato

(hold upper notes so they emerge as melody)


64

# 10 w
8

V 8 8 n
j
n

b n 3

w
J
2n
J

j j 5 j
j4
6
6
88

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b
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68

[CI]
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2

# 8 . . n 12 . w - - - 9 n .
n

V 8

8 n
8 b

P
73

CIII
j
3
j
j4 1j
sostenuto
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j 2
4
b

3 j

4
#
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.
11
8

8 #
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0
3
2b
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4

76

1
2
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16
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8

3
F
79

.
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8
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f
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85
.
.

# 9 2
3

.
V 8

4
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.
0
1
J
82

w
J 98
J

68

j

# 6 . j 10 w
8
6

V 8 .
8 8 8 . .

J
J
w
88

j
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.
# .

14
V
12
8 . . . . .
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92

# 14

12
V 8

8 w
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95

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12

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100

12
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8


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103

1
2

RH
j LH
. 3j

> > .
l.v.!

LH

4
**
2
# . x3

V . .. J 68
106

j
# 6 9

V 8
J 8
J
J
J J
J
110

# j
j

V
J
J
J J
J
J
114

** See note on next page.

j j
j
j
J J
V
J
J
w
118

j
j j j

V
J
J
J
J
122

** From this bar to the end of the piece a sample realisation is given of the musical structure described
below. The performer is encouraged to use the "rules" given to make his or her own quasi-spontaneous
realisation of the structure, freely playing with the possibilities of the basic idea rather than getting too
bogged down in the detail.
"Rules"
The Right Hand always alternates between two "artificial" harmonics, while the Left Hand always plays
"hammer-ons" of notes selected from the three different groups, either in the order given or permutated.
Realise the structure by alternating the LH and RH notes (always alternating RH "D"/LH/RH "A"/LH
etc.) within the indicated rhythmic pattern.While the RH always alternates between its two notes, the
LH moves from LH Group 1 to Group 2 before finishing with Group 3.
RH plays the low E (only once) somewhere in the course of this process.
Finish when it feels right, ending on LH "B" with all three notes (A B D) ringing on.
Pattern (9/8)
LH Group 1
RH harmonics
# Rhythmic

V J J
127

Use this rhythmic pattern as a


looping structure in which to
place the actions of the two hands.

The RH always
alternates between
these two notes
played at the 12th fret.


LH Group 2

LH Group 3

The LH cycles through the notes in these groups, either in


order or permutated, moving gradually from one group to
the next to the end of the piece.