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 performance by the performer as a way to add color to the piece. Writing, “clarinet sound” above the intended passage with an explanation in the performance notes should suffice. 2.4 Right Hand Tapping Example 2.5 Right hand tapping in “Chicago, IL.” from Some Towns and Cities by Benjamin Verdery. Measure 67. In Example 2.5, “Chicago, IL.,” from Some Towns and Cities by Benjamin Verdery, the performer activates the string at a particular fret with the right hand. This technique is known as right hand tapping, or just tapping. In this example, the left hand is playing slur figures while the right hand activates the low G by hitting the fret with the right hand thumb hard enough to produce the G3. The right hand thumb then glides up the sixth string producing a glissando to the E4. Verdery notates this by using a T at the spots where the right hand finger produces the sound (see Example 2.5). 26
Example 2.6 Right hand tapping in Sequenza XI by Luciano Berio. Page 4, system 2. A different type of right hand tapping can be found in Sequenza XI by Luciano Berio. Berio has notated the technique using two staves, the top for the left hand and the bottom for the right hand. The left hand begins by slurring F-sharp, G, F-sharp. Then one of the right hand fingers hits the G-sharp, followed by F-sharp, G, F-sharp slurred in the left hand. This technique is very smooth and fluid. It does not contain any strong attacks due to the fact that the string is never plucked in a traditional sense (see Example 2-6). Example 2.7 Right hand tapping in La Espiral Eterna by Leo Brouwer. Page 8, System 1. Leo Brouwer incorporates right hand tapping in La Espiral Eterna. In Example 2.7, the right hand hits the fretboard at indiscriminate spots. Brouwer indicates the rhythm and dynamics and uses an x for the noteheads to provide a basic melodic contour 27
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 and 42: Figure 2.1 The symbol Leo Brower us
Page 43: the example above (Example 2.3) the
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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