Extended Techniques for the Classical Guitar - Robert Lunn Composer

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LIST OF FIGURES Figure 1.1 Notes limited to the bottom three strings ...........................................................5 Figure 1.2 Normal vibrato in Las Seis Cuerdas by Alvaro Company ...............................17 Figure 1.3 Slow vibrato in Las Seis Cuerdas by Alvaro Company ...................................17 Figure 1.4 Rapid vibrato in Las Seis Cuerdas by Alvaro Company ..................................18 Figure 1.5 No vibrato in Las Seis Cuerdas by Alvaro Company ......................................18 Figure 1.6 Bi-tones on the guitar .......................................................................................20 Figure 2.1 The symbol Leo Brower uses to notate a right hand glissando in La Espiral Eterna ...................................................................................................23 Figure 2.2 Bartόk Pizzicato................................................................................................22 Figure 2.3 Symbol Alvaro Company uses in Las Seis Cuerdas to instruct the performer to pluck the string ............................................................................25 Figure 3.1 Tambora with the palm of the hand in Sonata by Alberto Ginastera ...............35 Figure 3.2 Tambora with the thumb in Sonata by Alberto Ginastera ................................36 Figure 3.3 Tambora with a closed fist in Sonata by Alberto Ginastera .............................37 Figure 3.4 Percussion diagram in Royal Winter Music by Hans Werner Henze ...............41 Figure 3.5 “Worry Knot” from 11 Etudes by Benjamin Verdery ......................................41 Figure 5.1 Drop-D Tuning .................................................................................................57 Figure 5.2 Scordatura in Koyunbaba by Carlo Domeniconi..............................................58 viii
Figure 5.3 Drone in the 4 th Movement of Koyunbaba by Carlo Domeniconi. Measures 1-2 ..........................................................................................................60 Figure 5.4 The melody in the 4 th Movement of Koyunbaba by Carlo Domeniconi. Measures 1-2 ..........................................................................................................60 Figure A.1 Natural harmonics at the 5 th , 7 th and 12 th frets .................................................66 Figure A.2 Natural harmonics at the 3 rd , 4 th , and 9 th frets .................................................67 Figure A.3 Harmonic possibilities from playing harmonics from different frets at the same time .....................................................................................................68 Figure A.4 Renotation of measures 32 and 33 from Etude o. 1 by Heitor Villa-Lobos ............................................................................................................70 Figure B.1 Different ways to do the tremolo .....................................................................72 ix
Page 1 and 2: Extended Techniques for the Classic
Page 3 and 4: Copyright by Robert Allan Lunn 2010
Page 5 and 6: Dedicated to Amy Diane Lunn My Chil
Page 7 and 8: VITA 1997..........................
Page 9: Chapter 5: Borrowed From Other Trad
Page 13 and 14: Example 1.13 Tuning a string “mid
Page 15 and 16: Example 3.11 Tambora with the clenc
Page 17 and 18: Example 5.7 Rasgueado in Sequenza X
Page 19 and 20: INTRODUCTION The purpose of this do
Page 21 and 22: successfully composed works for thi
Page 23 and 24: 1.1 Glissandi CHAPTER I THE LEFT HA
Page 25 and 26: in pitch. Bedford mentions that the
Page 27 and 28: should be played, “as high as pos
Page 29 and 30: Example 1.9 String Bending in the 2
Page 31 and 32: Example 1.13 Tuning a string “mid
Page 33 and 34: Example 1.16 Muting in La Espiral E
Page 35 and 36: This second method gives more varie
Page 37 and 38: Example 1.21 Mixed vibrato in Las S
Page 39 and 40: the fretted notes and giving an ind
Page 41 and 42: Figure 2.1 The symbol Leo Brower us
Page 43 and 44: the example above (Example 2.3) the
Page 45 and 46: Example 2.6 Right hand tapping in S
Page 47 and 48: 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
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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
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Example 4.2 Bouncing a spoon on str
Page 77 and 78:
A few measures before the guitarist
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sound.” 4 This is a similar effec
Page 81 and 82:
Due to the construction of the guit
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Example 4.16 Con sordino in Piece w
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Example 5.1 Rasgueado from the 7 th
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Example 5.5 Rasgueado in Sequenza X
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scordatura to facilitate this. 6 Do
Page 91 and 92:
Figure 5.3 Drone in the 4 th Moveme
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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 and 106:
Example B.3 Tremolo in Etude No.7 b
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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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