Extended Techniques for the Classical Guitar - Robert Lunn Composer

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This tuning creates a tonic/dominant relationship in the lower two strings which Beaser uses in the first two measures from Example 5.10. This motion back and forth between the two strings is a popular bass line found throughout the folk literature. 61
CHAPTER 6 MISCELLANEOUS TECHNIQUES This chapter discusses certain techniques from the guitar literature that do not easily fit into any of the earlier chapters. For example, techniques such as strumming the strings between the nut and the tuning pegs can be performed with either the left or right hand. Example 6.1 Strumming behind the nut in Sonata by Alberto Ginastera. 2 nd Movement, “Scherzo,” measures 14-16. Alberto Ginastera, in the second movement of his Sonata, writes that the guitarist should strum the strings between the nut and the tuning pegs. Due to the short string lengths the sound from the strings is high in pitch. This technique can be achieved by either hand. In this particular example the guitarist uses his/her right hand to strum the strings above the nut. In the last beat of measure 14 the guitarist plays a slur figure with the left hand. This frees the right hand up to strum the strings above the nut in measures 15 and 16. 62
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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
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This second method gives more varie
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Example 1.21 Mixed vibrato in Las S
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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 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: Figure 5.3 Drone in the 4 th Moveme
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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