Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 4.7 Matchstick in “Clock Strikes Midnight” from Three Little Nightmares by Brad Richter. Measures 1-2. Sticking with the clock theme and using matchsticks, Brad Richter in “Clock Strikes Midnight,” from Three Little Nightmares, calls for two matchsticks to be woven into the strings. Richter explains in the performance notes how the matchsticks should be placed: Place two wooden match sticks in the strings. One should be ‘woven’ under the first string, over the second and back under the third string at the second fret. Be sure the match does not touch the fourth string. The other match should be woven under the sixth string, over the fifth string and back under the fourth string about 5 cm from the bridge. Be sure this match does not touch the third string. Though placing the matches in the strings changes the pitches as well as the timbre of the open strings, the open strings are notated in standard pitch. 3 Example 4.8 Folded newspaper under the strings in A Horse, his Name was Hunry Fencewaver Walkins by David Bedford. Rehearsal J. In A Horse, his Name was Hunry Fencewaver Walkins by David Bedford, the guitarist inserts folded newspaper under the strings in order “to produce [a] dry, rattling 33 Brad Richter, Solo Guitar Collection (Pacific: Mel Bay Publications, INC, 2005), 31. 47
sound.” 4 This is a similar effect to the matchstick in the previous example. The difference is that the newspaper will create a “rattling sound” because the paper is not as stiff as the matchstick. Example 4.9 Using a cork in between the strings in Piece with Clocks by Nikita Koshkin. Page 15, system 2. In addition to the matchsticks, Koshkin, in Piece with Clocks, prepares the guitar with a cork. The cork is placed in between the first and the second strings. This creates a percussive sound similar to the matchstick sound. Example 4.10 Clothespin in “I felt a Funeral in My Brain” from Three Little Nightmares by Brad Richter. Measures 1-2. In “I felt a funeral in My Brain” from Three Little Nightmares, Brad Richter specifies that the performer should attach a clothespin to the sixth string of the guitar. Richter states in the performance notes: 4 David Bedford, A Horse, His Name was Henry Fencewaver Walkins (London: Universal Edition, 1978), 23. 48
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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
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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 and 76: Example 4.2 Bouncing a spoon on str
Page 77: A few measures before the guitarist
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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