Extended Techniques for the Classical Guitar - Robert Lunn Composer

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movement of the Sonata. Ginastera notates this technique with a drawing of a closed fist (Figure 3.3). Figure 3.3 Tambora with a closed fist in Sonata by Alberto Ginastera. An example of this can be found in the final movement, “Finale.” Example 3.11 Tambora with the clenched fist in the fourth movement, “Finale,” from Sonata by Alberto Ginastera. Measure 2. Ginastera uses the closed fist to serve two purposes. The first is to create a percussive attack on the off beats. The second reason is that the closed fist is in the ready position for a rasgueado 5 . Ginastera states in the program notes: The combination of “rasgueado” and “tambora” is a percussive effect which marks the rhythms at the off beat. The “rasgueado” is achieved by a fast, energetic brushing by the fingers of the right hand. The “tambora” chords are played by the right hand’s clenched fist which hits the strings over the soundhole dryly with the last phalanx of all fingers in order to subdue all vibration. At fortissimo the strokes must be sufficiently energetic to cause the strings to rebound against the fingerboard. This effect of Argentinean popular style playing is essential to the fulfillment of the composer’s intentions. 6 5 Rasgueado’s are discussed in Chapter 5. 6 Alberto Ginastera, Sonata for Guitar, (London: Boosey & Hawkes, 1978), 11. 37
Example 3.12 Tambora tremolando in Shadows by William Albright. 3 rd Movement, “Nights,” measure 1. William Albright employs a tambora tremolando in the third movement of his solo guitar piece, Shadows. The technique is easy to do and sounds like a quiet tremolo with a timpani. Another example of this can be found throughout the first movement, titled, “Lamentacion de la Muerte,” from Four Poems of Garcia Lorca by Reginald Smith Brindle (Example 3.12). Example 3.13. Drum roll in Four Poems of Garcia Lorca by Reginald Smith Brindle. 1 st Movement, “Lamentacion de la Muerte,” measure 1. 3.3 Body Percussion Body percussion is any percussive sound created by hitting the wood of the guitar. The golpe is a common body percussive technique that involves a right hand finger, usually the ring finger, hitting the wood just below the bridge. 38
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
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VITA 1997..........................
Page 9 and 10:
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
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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 and 66: 3.2 Tambora The tambora is a popula
Page 67: An example of this type of tambora
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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