Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example A.2 Natural harmonics is Sequenza XI by Luciano Berio. Page 3, system 3. Luciano Berio, in Sequenza XI, arpeggiates the harmonics found at the seventh fret. Example A.3 Harmonics mixed with naturally plucked notes in Sequenza XI by Luciano Berio. Page 1, system 1. In the same piece, Berio combines natural notes with harmonics in a rolled chord. Example A.4 Natural harmonics in Etude No. 1 by Heitor Villa-Lobos. Measures 32-33. Heitor Villa-Lobos uses arpeggiated natural harmonics to close his Etude No.1 for guitar. Villa-Lobos’ notation of the harmonics can lead to confusion for the performer. Ideally, the composer should notate the sounding pitch and give the fret and/or string that the harmonic is located on. Villa-Lobos notates the location of the harmonic at the 69
particular fret note, which may or may not coincide to the actual pitch. Furthermore, instead of using numbers to distinguish the strings, Villa-Lobos gives the string name. This can cause confusion because both the first and sixth strings are E. A better way of notating these harmonics can be found in Figure A.4. Figure A.4 Renotation of measures 32 and 33 from Etude No. 1 by Heitor Villa-Lobos. Example A.5 Natural harmonics used to form melodies in “Now you see it, now you don’t, now you do,” from 11 Etudes by Benjamin Verdery. Measures 1-2. Benjamin Verdery, in “Now you see it, now you don’t, now you do,” from 11 Etudes, begins with harmonics played melodically. Even though the tempo is rather quick, this opening should not pose a problem for the performer because the natural harmonics are fairly close together. A.2 Artificial Harmonics Artificial harmonics are not limited to certain frets like natural harmonics. Artificial harmonics can be performed any place on the guitar. Typically, artificial 70
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Extended Techniques for the Classic
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Copyright by Robert Allan Lunn 2010
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Dedicated to Amy Diane Lunn My Chil
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VITA 1997..........................
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Chapter 5: Borrowed From Other Trad
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Figure 5.3 Drone in the 4 th Moveme
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Example 1.13 Tuning a string “mid
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Example 3.11 Tambora with the clenc
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Example 5.7 Rasgueado in Sequenza X
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INTRODUCTION The purpose of this do
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successfully composed works for thi
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1.1 Glissandi CHAPTER I THE LEFT HA
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in pitch. Bedford mentions that the
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should be played, “as high as pos
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Example 1.9 String Bending in the 2
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Example 1.13 Tuning a string “mid
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Example 1.16 Muting in La Espiral E
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This second method gives more varie
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Example 1.21 Mixed vibrato in Las S
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the fretted notes and giving an ind
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Figure 2.1 The symbol Leo Brower us
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the example above (Example 2.3) the
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Example 2.6 Right hand tapping in S
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Another example of a tremolo played
Page 49 and 50: In the fourth movement, “Spirits,
Page 51 and 52: A similar technique can be found in
Page 53 and 54: Example 3.8 Tambora in November Mem
Page 55 and 56: movement of the Sonata. Ginastera n
Page 57 and 58: Example 3.14 Golpes in Shadows by W
Page 59 and 60: performance notes he gives a diagra
Page 61 and 62: CHAPTER 3 PERCUSSIVE SOUNDS Compose
Page 63 and 64: Example 3.3 slapping string in “J
Page 65 and 66: 3.2 Tambora The tambora is a popula
Page 67 and 68: An example of this type of tambora
Page 69 and 70: Example 3.12 Tambora tremolando in
Page 71 and 72: performer to use the finger pads an
Page 73 and 74: Verdery identifies three different
Page 75 and 76: Example 4.2 Bouncing a spoon on str
Page 77 and 78: A few measures before the guitarist
Page 79 and 80: sound.” 4 This is a similar effec
Page 81 and 82: Due to the construction of the guit
Page 83 and 84: Example 4.16 Con sordino in Piece w
Page 85 and 86: Example 5.1 Rasgueado from the 7 th
Page 87 and 88: Example 5.5 Rasgueado in Sequenza X
Page 89 and 90: scordatura to facilitate this. 6 Do
Page 91 and 92: Figure 5.3 Drone in the 4 th Moveme
Page 93 and 94: CHAPTER 6 MISCELLANEOUS TECHNIQUES
Page 95 and 96: Example 6.4 Playing above the nut i
Page 97 and 98: APPENDIX A NATURAL AND ARTIFICIAL H
Page 99: Example A.1. Wilfred Josephs harmon
Page 103 and 104: APPENDIX B THE TREMOLO The tremolo,
Page 105 and 106: Example B.3 Tremolo in Etude No.7 b
Page 107 and 108: APPENDIX C A SUMMARY OF MUSICAL SYM
Page 109 and 110: APPENDIX D SELECTED DISCOGRAPHY Ber
Page 111: BIBLIOGRAPHY Grunfeld, Frederic. Th
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Extended Techniques for the Classical Guitar - Robert Lunn Composer

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