Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example B.1 Tremolo in Recuerdos de la Alhambra by Francisco Tárrega. Measures 1-2. Example B.1 contains the first two measures from Recuerdos de la Alhambra by Francisco Tárrega, one of the most popular pieces in the guitar repertoire. Recuerdos de la Alhambra was inspired by a trip the composer took to Granada where the composer was “enthralled [by] the famed Moorish palace of the Alhambra.” 2 Example B.2 Tremolo in “Starry Night on the Beach (with federales),” from A Whisper in the Desert by Brad Richter. Measures 9-10. In “Starry Night on the Beach (with federales),” from A Whisper in the Desert, Brad Richter uses a variation of the tremolo technique. After the bass is struck, Richter inserts a slur figure before moving to the repeated E’s. 2 Adrián Rius, Francisco Tárrega: 1852-1909 Biography (Valencia: Piles Editorial de Música, 2006), 104. 73
Example B.3 Tremolo in Etude No.7 by Heitor Villa-Lobos. Measure 49. Heitor Villa-Lobos also uses a variation on the tremolo effect in Etude No.7. Instead of having the E’s performed on the same string, they are performed on three different strings. A guitarist can easily perform certain notes on different strings simultaneously. Example B.4 Tremolo in Sequenza XI by Luciano Berio. Page 2, system 2. Luciano Berio uses the tremolo throughout Sequenza XI. In Example B.4 the tremolo is written below the bass notes. The A-flat, D, and E-flat bass notes are all performed on lower strings than the tremolo, even though those notes are higher in pitch. This is evident because of the encircled 5 and 6 in the example. The tremolo is played on the open 4 th string, D. Another example of the tremolo technique can be found in Example B-5 below: 74
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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,
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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 and 102: particular fret note, which may or
Page 103: APPENDIX B THE TREMOLO The tremolo,
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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