Reuben Jelleyman

Soliloquy for Guitar

Version 2.4

2017
Bio: Reuben Jelleyman (1993 - )
Originally from Auckland, Reuben Jelleyman studied at the New Zealand School of Music and Victoria University of Wellington
in Music and Physics. The composer has had music performed by Avanti! (Finland), the NZSO, and NZTrio (New Zealand).

The composer also has a practice in audio-visual installation work, including solo and collaborative multi-disciplinary work and
in broader electronic music production. Works have been included in festivals such as Phas.ePlatform (U.K.), Bourges (France),
and Lux (NZ).
In 2015 Jelleyman was finalised for the prestigious SOUNZ Contemporary award.

Current projects (2017) include a new chamber opera The Garden of Forking Paths, and works for the Auckland Philharmonia
Orchestra and NZSO National Youth Orchestra.

2017 Reuben Jelleyman

Typeset by the composer (2017)

The composer's work is represented by SOUNZ in their works archieve, and by the CANZ.
Additional information or recordings of works can be found at http://reubenjelleyman.weebly.com
or soundcloud.com/reuben-jelleyman
 ii

Reuben Jelleyman

Soliloquy for Guitar

Version 2.3

2017
iii

ca. 8'30"
The Soliloquy for Guitar, like the others in Jelleyman's set of solo works, confronts the architecture of the instrument in a
somewhat austere fashion. Solo pieces, the composer assures us, are for him the most dicult of pieces to draw a 'developed
music' out of. Each soliloquy is posed as a struggle in building developed musical aesthetics from an essentially (timbrally)
non-contrapuntal voice.
In Soliloquy for Guitar, the guitarist is constantly tuning the instrument. The basis is the relationship between the harmonics
of the lowest string with the tuning of the open strings of the instrument. As the 'web' of musical material grows the tunings
'melt' the pitch structures, and morphs into further sonic structures.

Performance Notes:

String retunings occur throughout the piece and are written in a small stave above the main sta, with
string numbers specified;
p i m a: thumb, index, middle, anular;

Muted sound, with either left or right hand (specified);

Use fingernail of index finger or thumb;

Harmonic notehead;
N.B. All harmonics are to be fingered as written, with sounding pitch indicated (some exceptions where
playing position is indicated only due to sonic complexities). Some fret numbers are given with fractions
to specify harmonic fingering positions that lie in-between frets.

Use fingernails along strings, from soundhole up toward the pegs, to produce a muted scratching sound
(no open string pitch);

mult. Indicates playing the natural harmonic with a small amount of the open string fundamental present
(multiphonic);
l.v. Laissez vibrer;

L.H. /R.H. Left hand / right hand;

Guitarist also requires an A-440 tuning fork. Prepare at performance station tuning fork striking pad
and a towel for dampening. When the fork is called for the guitarist strikes the fork on the pad and places
the bottom of the handle on the top of the sound-box or the bridge (sound should always be soft, and not
overpowering);
t.f. tuning fork;
Soliloquy for Guitar (2017)
Reuben Jelleyman

& #w
w
Initial Scordatura:

w
w
Kww
q=ca. 55, con rubato
1 Scordatura

&
K k
>IVj
#
beating

44 K
w/ i nail tip

V V V V V V
J
>
mp
V ppp

>Vj
B n b ncont.
K n B n B n B n V
X 1/2

V V V V
3 cont. mult.

& J
> B
mp >
V ppp

mp pp

B n B n B n B n V
b b n b
V

& V V V V V
5

o
6 6
pp

p rushed

7
&
k K

j
VII beating

V
w/ i nail tip

& K J
V V V V V
>
mp

VII
ppp

>
n B n B n B n V
III

V V V V V
mult.
9 cont.

& j
B ppp
o

mp
11

& &
K k

>IVj
#

beating

K V V V V V V
w/ i nail tip

& J
>

V ppp
mp
Copyright R Jelleyman 2017


2

>Vj

K B n B n B n B V n B n b n V B n B n B n B n V
mult.
6 6

V
13 cont. IX 1/3 cont.

k
& J
>

ppp ppp
>
V

mp mp pp

15
&
k K
>j

beating

VII

V Bn Bn Bn B b ### K

6 6

& V V V
w/ i nail tip

J
>

ppp
VII
mf rushed

p
mp

III

>o B B B V V V V nBn Bn Bn Bn V V
mult.

& V V V j
17
n n n n
cont.

6 6
mp pp ppp

&
20

K k k K
w/i nail tip
j
V
IV

<> j n
i

& V V V V
##
# #

> ##
mf pp
>
mf pp
x2

pause both times
22 U
&
K k k K
<>
j
#j n
sim. V IV

& V V #
# # V V

##
> pp
> pp
mf mf

subito energico

>
X 1/2 XII V

<> <>
R.H.
24 slap-mute mult.

R
& B


>
3 6
mf > 3
ppp

3

R.H. (a little, dull

V V
25
44
66 bb
slap open string pitch)

&
6 6
> 6 b>
f

4
very slow vib.,
26 w/ pegs cont. vib. cont. vib.

&4



(tuning varies)
III X1/2
sim.

44 j V V r > mult. n
X 1/2

K
r
V XII
mult. with fingertips

&

p pp p pp
> ppp
mf pp fragile
f

28 (cont. vib.) cont. vib. cont. vib. cont. vib. cont. vib.

&

Kr Kr Kr
XII V XII

&
V
p ppp

K
30
2
& 4


K
L.H. XII

r
& 666
X 1/2

V
mute

> 42
mult.

#

f
> ppp

B K B K K B K > K B
K K
B K
31
2
V

&4
6 6 6 6

>j

VII

Ve
strike & apply tuning-fork

&K V V V V V V V V V
32 on sound-box (discard tuning-fork)

>

ppp
VII

mp
4

K
35 tuning:

& J



VIII
6 6

V V V V
& b
mult. ord.

>
6
poco mf ppp p

very slow vib.,

w/ pegs
37 poco accel.
2 2
& 4 4

6 6 6 6

& V V V 42 V 42


p ppp

2 L L
39 a tempo primo

&4


>V

mult.

& 4 V R L
VI
6

V V
6 6 6 6 6
2

#>
V
mf ppp f > 6

mp

41

& k


mult.

k r k r k r V
Kr K K K
k
XII

& B>
VI

6 6

mf ppp p

42 U
&
B



>IVr
#
ord.

fi k
(ord.)

(bar V)

# V V
w/ tip

& >
R R
>IV
f

mp p
 5

43

k
sotto espressivo

B
&

III

5 5

k V V


& #
5 5
k k
B>

B B B
mf p

5 VI
5
II
5
III

b n
5

& jb # # l #
5 5

44

# l # l # l # l
5 5

Bb >
n #

B B

n
> p >
mf p mf p
mf

45 a few cents sharper

&

l # V V V V V V V
5 5

& l #

>
5
mult.

b>
VI III VI

n
5

jb # n
47 5 5 5 5

42
k k k k k k
& #
Bb n

B b

>mf > p
5 5
mf p

R.H.
b n 6
III IV IV

B b
slap 6 6

& 42 k b b # 66 j b
n
48 6

j k k k

Bb

Bb

)

mult. (on
VIII

b
6 6

& j #
49 6 6
4
k k k

Bb 4

6

4 k
50

&4

6 6

4
& 4 #
V V V V V V V

52

&
K

K K
6 6 5 5

& V V V V V V V V V V

# #

K
V V V V V V V
55

&
#

K K
V V V fi V V V

57

# k
V
j
& #

K L L L L
# k k V # V V V V

59

& # k

L L L L
V
V V

V

V V
61

& k
k
5 5
 7

L L L L
# V
V V V V
63

k

& k k
5 5 5 5

#
& V V V V V V V
65

k

5 5

B B n
B n B n
V

# #
V V V V V
67

k
&
5 5 5 5
5 5

K n B K K
V V V V V V
69

& # k
K

K K K K n K n K n
& V V V V V
71

K
73
n
&

K K n
V V

&

8

repose, molto rubato
q=ca.40

sempre l.v. possible

b
#w
w e
j
74 t.f.

b k

&
r w
p ppp
( )

U
(R.H.)
76

&

X1/2 XII
#

mult.
n
& b #
b k

B> r #

U
78

&

#
, B n B n
nB e
j
II

l
t.f.

&
mult.

k

k
3
j
b b
>
3
( ) 6

IV

B Bb B
U
& b B n #
mult.

e
j
80

l
t.f.

b k #
#> ( )

3 3
# B n B n
k b n ne
82 t.f.

& k
b
3 # ( )
 9

84 Coda

&
# # b
r
(chords written sim.
without scord. changes)
V beating (pitch roughly) IV

r
<>
sempre l.v.

V V
# n
& # #

> ##
mf ppp
>
mf ppp

k K
86

&
V #
IV

r r
<>
V ### k V
#
&

##
> ppp >
mf mf ppp

88

&
b n

V
IV

r r
<>

V V
# n
& # #

> #
#>
mf ppp mf ppp

K
90

& #
n
VI
#
V

r
<> K ##
#
t.f.

&
#

##
> ppp
>
mf mf

92

b
&

b
r r
<> b
V IV

## n V
#
&

##
> ppp >
mf mf ppp
10

94

& #
r V
r IV

<> ##
#
&

##
> >
mf ppp mf ppp

96

& b

V VI
b
r
<> b ##
#
t.f.

&

##
> ppp >
mf mf

98

&

# b n

slow arpeggio sim.

>
III X

j U U
&

> J
mp mp

100

&

b

#
IV
VI

#j ##
U #
& # #

## #
#>
> mf
mp

102

&

>
XII VI

##
l.v.

U # U
(l.v.)

&

J ##
>
mp mf