Extended Techniques for the Classical Guitar - Robert Lunn Composer

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important source for organizational ideas about this document as well as terms used for certain techniques. Finally, A Composer’s Desk Reference for the Classic Guitar by Chris Kachian was a helpful guide in organizing this document. Although Kachian only superficially covers a few extended techniques, the conciseness of his writing was used as a model in this document. Finally, I decided that the examples should appear as the composers/publishers intended them. All of the examples used in this document are copies from the original. The examples are all in the treble clef even if there is not a clef sign used in the example. In standard notation practice, a clef sign is used at the beginning of a system. If an example was used from the middle of a staff, a clef sign does not appear. 4
1.1 Glissandi CHAPTER I THE LEFT HAND The Harvard Dictionary of Music defines a glissando as, “a continuous or sliding movement from one pitch to another.” 1 There are two basic types of glissandi that can be performed on the guitar. The first is called the fret glissandi. 2 This involves the left hand finger sliding up or down the string from one note to the next. The problem with the fret glissandi is that no matter how fast the performer plays the glissando, the pitch is still moving by discrete half-steps. Due to the frets, a slide from one fret to the next will not be seamless, but instead, there will be a distinctive half-step shift from one fret to the next. The glissandi can occur anywhere within the range of the guitar but the composer should be aware that a glissando on the bottom three strings might have some additional noise because these strings are wrapped with steel (Figure 1.1). Figure 1.1 Notes limited to the bottom three strings. 1 Don Michael Randel, ed., The Harvard Dictionary of Music (Cambridge: The Belknap Press of Harvard University Press, 2003), 353. 2 John Schneider, The Contemporary Guitar (Berkeley: University of California Press, 1985), 143. 5
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 and 10: Chapter 5: Borrowed From Other Trad
Page 11 and 12: Figure 5.3 Drone in the 4 th Moveme
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: successfully composed works for thi
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
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 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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