Surrey Bells melody is the result of resonance, the use of space, and the way two thoughtfully arranged guitar lines relate to each other. Although the piece is meant to suggest the sound of church bells all over Surrey, it is the way this idea is expressed through the guitar that gives it its appeal rather than just stating it plainly. The piece has a spacious character since the arrangement enables each individual sound to stay audible at the same time as it helps to create an overall atmosphere.
Howard composed the piece entirely in DADGAD tuning, recording the various overdubbed sections on his Tanglewood steel-string guitar. The sound produced is said to be rich and resonant, qualities which are appropriate for the open atmosphere that was envisaged for the work. Moreover, the tuning also contributes to the piece’s unique character by providing the guitar with a specific tonal base without detracting from the main idea.
The history of this piece with regard to its arrangement is interesting. Although Howard at first thought of using his 50-year-old classical guitar in normal tuning for the second section, he eventually decided to go back on that and instead use the Tanglewood guitar with the DADGAD tuning. This choice ensured that the composition remained within a single sonic framework, while the overdubbing enabled the two sections to occupy different positions in the final recording.
What is most striking is the manner in which the various elements come together to produce a sense of depth; the more distant guitar does not merely serve as accompaniment to the main part, it helps to define the space in which the piece exists, thereby giving “Surrey Bells” a feeling of three-dimensionality that matches its meditative nature. The work serves as a clear instance of how a basic instrumental idea can be developed by means of tuning, arrangement and the use of thoughtfully chosen guitar textures.
English