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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
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movement of the Sonata. Ginastera n
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- Page 61 and 62: CHAPTER 3 PERCUSSIVE SOUNDS Compose
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- Page 111: BIBLIOGRAPHY Grunfeld, Frederic. Th