Extended Techniques for the Classical Guitar - Robert Lunn Composer

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harmonics are produced by plucking the string with the ring finger or thumb while lightly touching the string with the right hand index finger twelve frets higher than what is being fretted with the left hand. Example A.6 Artificial harmonics in Movement I from Five Bagatelles by William Walton. Measures 81-83. An example of artificial harmonics can be found in the first movement of Five Bagatelles by William Walton. Walton uses a circle above the note to notate the harmonic. This passage would sound an octave higher than notated. Example A.7 Arpeggiating artificial harmonics in “Milwaukee, WI,” from Some Towns and Cities by Benjamin Verdery. Measure 2. Example A.7, from “Milwaukee, WI” from Some Towns and Cities by Benjamin Verdery, contains an interesting example of artificial harmonics. The left hand frets the chord while the right hand rolls the chord using artificial harmonics. The resulting sound is harp-like. 71
APPENDIX B THE TREMOLO The tremolo, like harmonics, is an effect that is not considered an extended technique, but is an important technique that a composer for the guitar should be aware of. The Harvard Dictionary of Music defines tremolo as “the quick and continuous reiteration of a single pitch.” 1 The technique is created by having the thumb play the bass note while the fingers do the tremolo (Figure B.1). Figure B.1 Different ways to do the tremolo. Figure B.1 shows three common ways to play the tremolo on the guitar. When played at a quick tempo the aural impression is of two instruments, one playing the bass line and one the melody. 1 Don Michael Randel, ed., The Harvard Dictionary of Music (Cambridge: The Belknap Press of Harvard University Press, 2003), 905. 72
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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
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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 and 100: Example A.1. Wilfred Josephs harmon
Page 101: particular fret note, which may or
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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