Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 4.4 Using a slide in “Keanae, HI” from Some Towns and Cities by Benjamin Verdery. Measures 19-21. In the movement, “Keanae, HI” from Some Towns and Cities by Benjamin Verdery, the performer uses a slide to create glissandi in the melodic voice. The use of a slide can be found throughout the guitar literature in Rock and Blues music. In those styles it is used to play notes just slightly flat or sharp of pitch, as well as to create glissandi to and from pitches. The slide is a metal or plastic cylinder that slips over anyone of the left hand fingers. As seen in the first couple of examples in this chapter, the composer should give the guitarist a couple of seconds to prepare the slide (Example 4.5). Example 4.5 “Keanae, HI,” from Some Towns and Cities by Benjamin Verdery. Measure 15. 45
A few measures before the guitarist is to use the slide, Verdery has written a group of open notes so that while the right hand is playing the open strings the left hand prepares the slide. 2 Example 4.6 Matchsticks in Piece with Clocks by Nikita Koshkin. Page 3, system 1. In Piece with Clocks, by Nikita Koshkin, the guitar is prepared by using a matchstick that is inserted in the strings. In the score, Koshkin has diagramed how the matchstick should be prepared. The matchstick should cover the fourth, fifth, and sixth strings. The matchstick mutes the strings and gives the guitar a percussive sound. Meanwhile, the upper three strings are played normally. This gives the aural impression of two instruments being played. The first is the guitar sound (first three strings) and the second is the percussive sounds (bottom three strings.) 2 In “Keanae, HI” the guitar is tuned differently than the normal tuning. From first to sixth string: D, A, F-sharp, D, G, D. 46
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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
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Example 3.11 Tambora with the clenc
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Example 5.7 Rasgueado in Sequenza X
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INTRODUCTION The purpose of this do
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successfully composed works for thi
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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 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: Example 4.2 Bouncing a spoon on str
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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