Extended Techniques for the Classical Guitar - Robert Lunn Composer

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Example 5.3 Rasgueado from the 3 rd movement, “De Velocite,” from 3 Preludes pour “Fatum” by Charles Chaynes. Measure 5. Example 5.3 from the 3 rd movement of Charles Chaynes’ 3 Preludes pour “Fatum,” uses a popular way of notating the rasgueado. The first chord is given followed by the rhythm of the rasgueado. Luciano Berio, in Sequenza XI, notates a rasgueado similarly (Example 5.4): Example 5.4 Rasgueado in Sequenza XI by Luciano Berio. Page 1, system 3. Luciano Berio’s Sequenza XI is a fourteen minute tour-de-force that contains many different types of rasgueados. Berio states that he was trying to fuse elements from the classical and flamenco styles in this work. He says, “In Sequenza XI two instrumental and gestural styles are also present, one having its roots in the flamenco guitar tradition, and the other in that of the classical guitar.” 2 2 Luciano Berio, “Sequenzas.” Liner notes for Berio: Sequenzas 20/21 Series (Deutsche Grammophon GmbH, Hamburg, 1998. CD 457 038-2 GH3), 20. 55
Example 5.5 Rasgueado in Sequenza XI by Luciano Berio. Page 1, system 2. In Example 5.5, Berio writes in the performance notes that the rasgueado should be achieved by using the c, a, m, i fingers of the right hand creating a “fast grace note rasgueado.” 3 Berio notates four stems, each representing a different attack by the four different right hand fingers. Example 5.6 Rasgueado in Sequenza XI by Luciano Berio. Page 1, system 4. Berio describes Example 5.6 in the program notes as a “fast grace note rasgueado followed by an accented chord.” 4 The grace note rasgueado’s should be performed the same as Example 5.5. The additional accented chord should be performed by the thumb. 3 Luciano Berio, Sequenza XI (Wein: Universal Edition, 1988), Performance Notes. 4 Ibid., Performance Notes. 56
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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
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should be played, “as high as pos
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Example 1.9 String Bending in the 2
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Example 1.13 Tuning a string “mid
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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 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: Example 5.1 Rasgueado from the 7 th
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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