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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There is not a standard way to notate this technique and is often added to a per<strong>for</strong>mance<br />
by <strong>the</strong> per<strong>for</strong>mer as a way to add color to <strong>the</strong> piece. Writing, “clarinet sound” above <strong>the</strong><br />
intended passage with an explanation in <strong>the</strong> per<strong>for</strong>mance notes should suffice.<br />
2.4 Right Hand Tapping<br />
Example 2.5 Right hand tapping in “Chicago, IL.” from Some Towns and Cities by<br />
Benjamin Verdery. Measure 67.<br />
In Example 2.5, “Chicago, IL.,” from Some Towns and Cities by Benjamin<br />
Verdery, <strong>the</strong> per<strong>for</strong>mer activates <strong>the</strong> string at a particular fret with <strong>the</strong> right hand. This<br />
technique is known as right hand tapping, or just tapping. In this example, <strong>the</strong> left hand<br />
is playing slur figures while <strong>the</strong> right hand activates <strong>the</strong> low G by hitting <strong>the</strong> fret with <strong>the</strong><br />
right hand thumb hard enough to produce <strong>the</strong> G3. The right hand thumb <strong>the</strong>n glides up<br />
<strong>the</strong> sixth string producing a glissando to <strong>the</strong> E4. Verdery notates this by using a T at <strong>the</strong><br />
spots where <strong>the</strong> right hand finger produces <strong>the</strong> sound (see Example 2.5).<br />
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