Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Verdery, Benjamin. Start Now. Benjamin Verdery. Mushkatweek compact disk B00A6VY40 Verdery, Benjamin. Some Towns and Cities. Benjamin Verdery. Newport Classics compact disk NPD85509 Villa-Lobos, Heitor. Villa-Lobos: Complete Music for Solo Guitar. Norbert Kraft. Naxos compact disk B00004YYRQ Walton, William. British Guitar Music. Graham Anthony Devine. Naxos compact disk B0006M4SSW 79
BIBLIOGRAPHY Grunfeld, Frederic. The Art and Times of the Guitar. New York: The Macmillan Company, 1969. Kachian, Chris. Composer’s Desk Reference for the Classic Guitar. Pacific: Mel Bay Publications, 2006. Mairants, Ivor. The Flamenco Guitar. London: Latin-American Music Publishing Company, 1958. Martinez, Joesph. “The Guitar Music of Carlo Domeniconi. Soundboard 35, no.2: 33-36. Randel, Don Michael. ed. The Harvard Dictionary of Music. Cambridge: The Belknap Press of Harvard University Press, 2003. Schneider, John. The Contemporary Guitar. Berkeley: University of California Press, 1985. Strange, Allen, and Patricia Strange. The Contemporary Violin: Extended Performance Techniques. Berkeley: University of California Press, 2001. 85
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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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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 and 106: Example B.3 Tremolo in Etude No.7 b
Page 107 and 108: APPENDIX C A SUMMARY OF MUSICAL SYM
Page 109: APPENDIX D SELECTED DISCOGRAPHY Ber
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