- Page 1 and 2: Extended Techniques for the Classic
- Page 3: Copyright by Robert Allan Lunn 2010
- 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 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
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movement of the Sonata. Ginastera n
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Example 3.14 Golpes in Shadows by W
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performance notes he gives a diagra
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CHAPTER 3 PERCUSSIVE SOUNDS Compose
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Example 3.3 slapping string in “J
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3.2 Tambora The tambora is a popula
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An example of this type of tambora
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Example 3.12 Tambora tremolando in
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performer to use the finger pads an
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Verdery identifies three different
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Example 4.2 Bouncing a spoon on str
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A few measures before the guitarist
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sound.” 4 This is a similar effec
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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
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Figure 5.3 Drone in the 4 th Moveme
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CHAPTER 6 MISCELLANEOUS TECHNIQUES
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Example 6.4 Playing above the nut i
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APPENDIX A NATURAL AND ARTIFICIAL H
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Example A.1. Wilfred Josephs harmon
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particular fret note, which may or
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APPENDIX B THE TREMOLO The tremolo,
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Example B.3 Tremolo in Etude No.7 b
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APPENDIX C A SUMMARY OF MUSICAL SYM
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APPENDIX D SELECTED DISCOGRAPHY Ber
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BIBLIOGRAPHY Grunfeld, Frederic. Th