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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per<strong>for</strong>mer to use <strong>the</strong> finger pads and not use nails. The resulting sound will have less of<br />
an attack.<br />
Example 3.16 Tapping <strong>the</strong> body of <strong>the</strong> guitar in Sonata by Alberto Ginastera. 2 nd<br />
Movement, “Scherzo,” measure 86.<br />
Alberto Ginastera also uses tapping on <strong>the</strong> body of <strong>the</strong> guitar in his Sonata.<br />
Ginastera states in <strong>the</strong> per<strong>for</strong>mance notes that <strong>the</strong> per<strong>for</strong>mer should “tap, on <strong>the</strong> sound<br />
box with <strong>the</strong> knuckles.” 9<br />
Example 3.17 Hitting various parts of <strong>the</strong> guitar in Royal Winter Music by Hans<br />
Werner Henze. Movement 1, “Gloucester,” Measure 99.<br />
Hans Werner Henze uses body percussion throughout his Royal Winter Music.<br />
Henze notates <strong>the</strong> percussion on a different staff and labels three areas on <strong>the</strong> guitar that<br />
should be used <strong>for</strong> <strong>the</strong> percussion. He uses A, B and C to label <strong>the</strong> spots. In <strong>the</strong><br />
9 Alberto Ginastera, Sonata <strong>for</strong> <strong>Guitar</strong> (London: Boosey & Hawkes, 1978), Unnumbered Per<strong>for</strong>mance<br />
Notes.<br />
40