Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 3.8 Tambora in November Memories by Reginald Smith Brindle. Measure 25. Reginald Smith Brindle, in November Memories, notates the tambora by writing the complete chord only at the beginning. The remainder of the tambora is notated with an x at the bottom of the stem. Alberto Ginastera notates three different types of tambora effects in his Sonata for guitar, each describing a different way the right hand hits the strings. The first method is to have the palm of the right hand hit the strings. Ginastera notates this with a drawing of an open hand (Figure 3.1). Figure 3.1 Tambora with the palm of the hand in Sonata by Alberto Ginastera. Example 3.9 Tambora with the palm open in Sonata by Alberto Ginastera. 1 st Movement, “Esordio.” Page 2, system 5. 35
An example of this type of tambora from the Sonata by Alberto Ginastera can be found in the first movement titled, “Esordio” (Example 3.9). Hitting the strings with the palm of the hand creates a louder, sharper sound than the traditional tambora. This is because the strings hit the fretboard creating extra noise in the attack. The second type of tambora found in the Sonata is the traditional tambora played with the flesh of the thumb close to the bridge. Ginastera notates this type with a drawing of a closed hand with the thumb extended (Figure 3.2). “Esordio.” Figure 3.2 Tambora with the thumb in Sonata by Alberto Ginastera. An example of this type of tambora can be found in the first movement, Example 3.10. Tambora with the flesh of the thumb in the first movement, “Esordio,” from Sonata by Alberto Ginastera. Page 2, System 1. The final type of tambora that Ginastera employs in his Sonata involves the guitarist hitting the strings with a closed fist. This technique is found throughout the final 36
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Extended Techniques for the Classic
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Copyright by Robert Allan Lunn 2010
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Dedicated to Amy Diane Lunn My Chil
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VITA 1997..........................
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Chapter 5: Borrowed From Other Trad
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Figure 5.3 Drone in the 4 th Moveme
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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
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: 3.2 Tambora The tambora is a popula
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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