Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example B.5 Tremolo in Sequenza XI by Luciano Berio. Page 4, system 1. In this example the tremolo is once again below the bass notes. In this particular example the tremolo is performed on two different strings, similar to the Villa-Lobos example above. The A is played on the open fifth string, followed by the same note played at the fifth fret sixth string, followed by open fifth string. 75
APPENDIX C A SUMMARY OF MUSICAL SYMBOLS p,i,m,a Right hand fingers. P is for the thumb, i is for the index finger, m is for the middle finger, and a is for the ring finger 1,2,3,4 Left hand fingers. 1 is for the index finger, 2 is for the middle finger, 3 is for the ring finger and 4 is for the pinky finger Bartόk Pizzicato Glissando Alvaro Company’s symbol for no vibrato Alvaro Company’s symbol for a normal vibrato Alvaro Company’s symbol for a slow vibrato Alvaro Company’s symbol for a rapid vibrato 76
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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
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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 and 104: APPENDIX B THE TREMOLO The tremolo,
Page 105: Example B.3 Tremolo in Etude No.7 b
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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