Extended Techniques for the Classical Guitar - Robert Lunn Composer
Extended Techniques for the Classical Guitar - Robert Lunn Composer
Extended Techniques for the Classical Guitar - Robert Lunn Composer
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Example 1.11 Bending two at <strong>the</strong> same time in “Chicago, IL.,” from Some Towns<br />
and Cities by Benjamin Verdery. Measure 47.<br />
In Example 1.11, both <strong>the</strong> B and <strong>the</strong> E will be bent at <strong>the</strong> same time. The composer does<br />
not clearly notate this in <strong>the</strong> score, but mentions his intentions in <strong>the</strong> per<strong>for</strong>mance notes.<br />
Example 1.12 Ghost bend in “Greed” from 11 Etudes by Benjamin Verdery.<br />
Measure 2.<br />
In “Greed,” from 11 Etudes , Verdery uses a ghost bend. This is a note that is bent<br />
be<strong>for</strong>e plucking <strong>the</strong> string. After <strong>the</strong> string is plucked <strong>the</strong> per<strong>for</strong>mer releases <strong>the</strong> bend. In<br />
Example 1.12, <strong>the</strong> per<strong>for</strong>mer bends <strong>the</strong> string to a C-sharp, plucks <strong>the</strong> note, <strong>the</strong>n releases<br />
<strong>the</strong> bend to a C-natural.<br />
O<strong>the</strong>r possibilities include <strong>the</strong> bending of three strings at <strong>the</strong> same time and <strong>the</strong><br />
possibility of playing one note which is not bent, while bending ano<strong>the</strong>r note at <strong>the</strong> same<br />
time. As shown in Example 1.12, it would be possible <strong>for</strong> a guitarist to bend <strong>the</strong> B, while<br />
playing, but not bending <strong>the</strong> E. This is a common technique found in Rock music. It<br />
would be advisable that <strong>the</strong> higher sounding pitch be <strong>the</strong> stationary pitch and <strong>the</strong> lower<br />
note <strong>the</strong> bent note, o<strong>the</strong>rwise <strong>the</strong> higher string will not sound.<br />
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