Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 2.2 Bartók pizzicato in Movement VI of Seis Pinceladas by Jesus Villa- Rojo. Measure 10. In Seis Piceladas by Jesus Villa-Rojo we find an example of a Bartόk pizzicato (Example 2.2). Figure 2.2 Bartόk Pizzicato The symbol used to notate a Bartόk pizzicato can be found above in Figure 2.2. Example 2.3 Extended pizzicato in La Espiral Eterna by Leo Brouwer. Page 6, System 2. La Espiral Eterna by Leo Brouwer contains an extended pizzicato section. A typical right hand pizzicato on the guitar is accomplished by resting part of the right hand on the strings close to the bridge. The flesh of the hand muffles the sound. The performer can control the amount of muting by how hard the right hand presses on the strings. In 24
the example above (Example 2.3) the right hand rests on the strings for the entire segment while the left hand plays a cluster series. 2.3 Plucking Alvaro Company, in Las Seis Cuerdas, gives specific instructions of where the performer should pluck the string with the right hand. Plucking close to the bridge produces a bright, thin sound, while plucking over the soundhole produces a darker, thicker sound. Company calls for the performer to pluck exactly twelve frets higher than the fret the left hand is playing. Example 2.4 Plucking twelve frets higher in Las Seis Cuerdas by Alvaro Company. Page 8, system 2. This cuts the string in half and produces a hollow sound similar to that of a clarinet. The symbol Company uses to notate this technique, often named the “clarinet sound,” can be found in Figure 2.3. Figure 2.3 Symbol Alvaro Company uses in Las Seis Cuerdas to instruct the performer to pluck the string. 25
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 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: Figure 2.1 The symbol Leo Brower us
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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