Cruel Angel’s Thesis is a popular Anime song which sounds good with Niibori orchestral guitars.  The impactful nuances and tuneful melodic passages are well carried by guitars, given the youthful tempo of the piece.  Here are some points to consider in performing this work:

• A cajon should be added to drive the groove of the piece, but don’t play it all the time.  Only guitars would sound better from measures 21-28.  These measures present the more melodic segments that create contrasts from the upbeat rhythmic segments.   Without a cajon, the gentler aspects of the classical guitars can now be heard with better clarity.  Thereafter, bring in the cajon to emphasize the beat/groove again.
• Do not begin the piece too slowly as this would minimize the fluidity of the melodic contours played by the Alto guitars. 
• In the Pre-chorus (measures 29-36), spend time refining the rhythmic syncopation which not only adds excitement, but also prepares the listener for the Chorus. 
• The Tremolo-glissando technique (measure 37) (played by the altos) needs more LH pressure on the string as the sliding down proceeds.  Do not hurt yourself! Placing sufficient pressure on the string (left hand) gives the glissando effect an aggressive charm.

                 Guitar Ensemble Scores for Sale  (Niibori  & Prime)

• In the percussive middle section (I call it the NRM section |Niibori Rhythm Method), have a slight pause before starting the section.  The bass family drives this grove, with the Cajon imitating the primes in a crotchet rhythm (Keep it Simple and strike Softly!)  The Altos could lift their Guitars and hit the backs if the rhythms permit.  Otherwise, it's best to place them faced down on their laps and use two hands to articulate the rhythms.
• From measures 37-48, the primes should keep to strumming (not too loud), even though the score has different notation types.  Sometimes all strings or just three strings, but always be aware of the balance.  
• For a climactic finish, a slight crescendo in the last four bars would be desirable.

• Originally composed by W.C. Handy (Wikipedia link)
• Originally Scored for 5 primes guitars w contrabass and guitar percussion
• The video clip shows a Niibori Guitar Orchestra version of the score
• Altos 1 and 2 have taken up the melodic lines while the Primes are playing chords.  Special case is of the Contrabasses which are tuned down to D (6th string), and are also playing chords at some points in the score.  A 90-degree angle of attack with a brighter tone is required to achieve some clarity with these chords. 
• The Altos can find places to bend their notes if it's within a semitone, to give that bluesy feeling.  For eg. in bar 16.  Also try a ponticello effect on only that one bended note.
• For the repeated sections, there can be alternation between the front desk and tutti.  On Bar 51, the tutti enters on the 4th beat for the altos and primes.
• In Section C, the Prime 1 part has an improvisational nature, and can stand out more via sul ponticello 
• Tremolo passages can mimic jazz brass sections with their typical crescendoes (eg bar 43, Section F)
• Tremolo-Glissando effects can be found in places such as measure 54.
• Addition of the Angklung is an attempt to bridge these diverse of musical cultures, i.e. American Blues and Asian instrumentation. 
• Mixing the binary semiquaver+dottted-quaver and the swing triplet feel (written as dotted-quaver+semiquaver) creates an unusual rhythmic syncopation which adds tension to the score.  At a moderate speed, these opposing rhythmic accents add interest to the music.  
• Harmonics are splattered across the score, largely for the primes and contrabasses
• In bar 33, Alto 2 has the effect of a melodic passage played with harmonics and natural notes (even artificial harmonics)

    •   In Letter G, a slower tempo (but not too slow) should be adopted (like a slow blues). Contrabass chords need to be articulated (brighter tone)