Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 1.11 Bending two at the same time in “Chicago, IL.,” from Some Towns and Cities by Benjamin Verdery. Measure 47. In Example 1.11, both the B and the E will be bent at the same time. The composer does not clearly notate this in the score, but mentions his intentions in the performance notes. Example 1.12 Ghost bend in “Greed” from 11 Etudes by Benjamin Verdery. Measure 2. In “Greed,” from 11 Etudes , Verdery uses a ghost bend. This is a note that is bent before plucking the string. After the string is plucked the performer releases the bend. In Example 1.12, the performer bends the string to a C-sharp, plucks the note, then releases the bend to a C-natural. Other possibilities include the bending of three strings at the same time and the possibility of playing one note which is not bent, while bending another note at the same time. As shown in Example 1.12, it would be possible for a guitarist to bend the B, while playing, but not bending the E. This is a common technique found in Rock music. It would be advisable that the higher sounding pitch be the stationary pitch and the lower note the bent note, otherwise the higher string will not sound. 12
Example 1.13 Tuning a string “mid-flight” from D down to C in Simple Gifts arranged for guitar by Ronald Ravenscroft, B.J. Sutherland and John Sutherland. Measures 64-65. An interesting example of a glissando can be found in the arrangement of Simple Gifts for guitar by Ronald Ravenscroft, B.J. Sutherland and John Sutherland. In this example the guitarist must tune the sixth string down, “mid-flight,” from D to a C. The aural result is that there is a glissando from the ringing D down to the C-sharp and a glissando from the C-sharp down to the C natural. 1.2 Left Hand Muting Over Frets A left hand muted sound is created by lightly touching the string. This can be used rhythmically as well as melodically. Typically this technique is indicated by the use of an X as a notehead. The sound produced is made up of mostly noise but there is also a perceptible pitch that can be heard within the noise. Composers can give specific indications of pitch or general ideas of pitch, such as using low or high to inform the performer the type of sound that is desired. If the composer decides to give a specific 13
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 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: Example 1.9 String Bending in the 2
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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