Extended Techniques for the Classical Guitar - Robert Lunn Composer

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ABSTRACT The primary purpose this document serves is to give composers writing for the guitar a reference tool to guide them in using extended techniques for the guitar. This document will aid the composer by giving examples of a variety of different techniques possible on the guitar, as well as how to notate these techniques. The examples used in this document are limited to compositions professionally published for the classical guitar. ii
Dedicated to Amy Diane Lunn My Children, Andrew and Samuel Lunn My Parents, John and Sheryl Lunn My Mother-in-Law, Judith Schutter iii
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
Page 55 and 56:
movement of the Sonata. Ginastera n
Page 57 and 58:
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
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
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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
Page 91 and 92:
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
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Extended Techniques for the Classical Guitar - Robert Lunn Composer

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