The techniques of guitar playing / Seth F. Josel, Ming Tsao.

Format:

Book

Author/Creator:

Josel, Seth, author.

Tsao, Ming, author.

Language:

English

Subjects (All):

Guitar--Instruction and study.

Guitar.

Physical Description:

1 online resource (233 pages)

Edition:

1st ed.

Place of Publication:

Kassel, Germany : Bärenreiter, [2021]

Summary:

Der Gitarrist Seth F. Josel und der Komponist Ming Tsao geben in ihrem gemeinsam geschriebenen Buch einen umfassenden Überblick über zeitgenössische Spieltechniken der klassischen Gitarre. Prägend war hierbei eine neue Generation von Gitarren-Solisten, die durch ihre außerordentlichen technischen und virtuosen Fähigkeiten einem neuen Verständnis von instrumentaler Aufführungspraxis den Weg geebnet haben. Detallierte Erklärungen über das, was technisch auf dem Instrument möglich ist, werden präsentiert und im Hinblick auf die traditionelle Gitarrentechnik in einen historischen Zusammenhang gestellt. Für Komponisten interessant sind die ausführlichen Analysen von zeitgenössischer Gitarrenliteratur, die viele Beispiele aus Kammer- und Ensemblemusik mit einbeziehen.Vier Hauptkapitel beschreiben- Techniken der rechten und der linken Hand- Besondere Harmonien und perkussive Techniken- Die Hauptinstrumente der Gitarrenfamilie und ihre Möglichkeiten- Notationsmöglichkeiten für zeitgenössische GitarrenliteraturDetaillierte Grafiken zu Multiphonics-, Bitones- und Perkussions-Techniken sowie Audio-Tracks, auf die aus dem Buch heraus verlinkt wird, ergänzen die im Buch beschriebenen Beispiele.

Contents:

Cover

Title

Imprint

Contents

Foreword

Preface

Acknowledgments

1 Guitar Basics

1.1 Essential components of the guitar

1.1.1 Strings

1.1.2 Soundboard

1.1.3 Soundbox

1.1.4 Fretboard

1.2 How a guitar tone is produced

1.3 Traditional and nontraditional tunings

1.3.1 Historical tunings

1.3.2 Equal tempered tunings

1.3.3 Microtonal tunings

1.3.4 Tunings based on the harmonic series or just intonation

1.3.5 Tunings changed during a performance

1.4 Abbreviations and symbols for fingers and fingering positions

1.5 Notation basics

1.5.1 Traditional Expressive Markings

1.5.2 Multiple staves

1.5.3 Tablature notation

1.5.4 Action stave for the RH position

1.6 Fretboard chart

1.6.1 Negotiating the fretboard

1.7 LH techniques

1.7.1 Stopped notes and open strings

1.7.2 Single notes to chords

1.7.3 Beyond the fretboard

1.7.4 Clusters

1.7.5 Polyphonic textures or "impressionistic polyphony"

1.7.6 Other ways of stopping notes on the fretboard

1.7.7 Barré positions

1.7.8 Slurs-hammer-on/pull-off

1.7.9 Extensions of the pull-off

1.7.10 Vibrato

1.7.11 Trills-on one or two strings

1.7.12 Glissandi/Portamenti

1.7.13 String bending

1.8 RH techniques

1.8.1 RH patterns: arpeggiation (Giuliani, Tárrega, Pujol)

1.8.2 RH strokes: tirando vs. apoyando

1.8.3 Tremolos

1.8.4 Cross-string trill

1.8.5 RH timbre

1.8.6 Filtering

1.8.7 Strumming

1.8.8 Pizzicato or RH muting

1.8.9 Bartók pizzicato/snap pizzicato

1.8.10 Plectrum

1.9 Orchestrating for the guitar: key historical works

2 Guitar Harmonics

2.1 What are harmonics?

2.1.1 Harmonic series

2.1.2 How are harmonics generated on a guitar?

2.2 Harmonics on the open strings of a guitar

2.2.1 How high?

2.2.2 Location of open string harmonics.

2.2.3 Harmonics on different strings

2.2.4 Harmonic dilemma in Webern's Drei Lieder, op. 18

2.2.5 Scordatura

2.2.6 RH plucking techniques for harmonics

2.2.7 Harmonics produced by the LH alone

2.3 Examples from the literature

2.3.1 Use of harmonics as sole material for a composition

2.4 Notation of harmonics

2.4.1 Inclusion of the string number

2.4.2 Harmonics notated at concert pitch

2.4.3 Harmonics notated as fingered pitches

2.4.4 Brief overview of harmonics notation

2.4.5 More notational confusions

2.5 Half harmonics

2.6 Notation of natural harmonics and half harmonics

2.6.1 Notation of harmonics on scordatura strings

2.7 Multiphonics

2.7.1 Positions of selected multiphonics on the fretboard

2.7.2 Corresponding multiphonic chords

2.7.3 Examples from the literature

2.8 Artificial harmonics

2.8.1 Timbral differences

2.8.2 Examples from the literature

2.8.3 Notation of artificial harmonics

2.8.4 Extensions of artificial harmonics

2.8.5 Notational reframing

2.9 "Attackless" harmonics

2.10 Guitar harmonics in context

3 Guitar as Percussion

3.1 Historical precedence

3.1.1 Contemporary examples: LH tapping

3.2 RH tapping

3.2.1 Tapping combinations

3.2.2 Case study: Rolf Riehm's Toccata Orpheus

3.2.3 Unpitched tapping

3.3 Bi-tones

3.3.1 Bi-tone chart

3.3.2 Producing the auxiliary pitch of a bi-tone

3.4 Battuto

3.5 Guitar as percussion instrument

3.6 Tambour

3.6.1 Examples of tambour

3.6.2 RH muting as a percussive effect

3.7 Golpé

3.7.1 Possible areas on the guitar to execute a golpé

3.7.2 Diversified golpé

3.8 Percussive map

3.8.1 Further extensions of golpé

3.9 Tamburo

3.9.1 Examples of tamburo

3.10 Brushing/Rubbing/Scraping

3.10.1 Güiro/"Guero" actions

3.11 String Buzz.

3.12 Notational conventions

3.13 Foreign objects

3.13.1 Slide

3.13.2 Other foreign objects: bows, beaters, thimbles, etc.

3.13.3 More notational conventions

3.13.4 Beaters and mallets

3.13.5 Miscellaneous objects

3.14 Prepared Guitar

3.14.1 Capo tasto

3.14.2 Repertoire

3.14.3 Other preparations

3.14.4 Guidelines for guitar preparation

3.14.5 Repertoire

3.15 The guitar as percussion in context

4 "All in the Family"-The Acoustic Guitar's Relatives

4.1 Nineteenth century instruments

4.1.1 Octavine guitar

4.1.2 Terz guitar

4.2 Deviation from the six strings: the seven-string guitar and the ten-string guitar/décacorde

4.3 Double-neck guitars

4.4 Ukulele

4.5 Acoustic steel-string "flat-top" guitar

4.5.1 Ebow

4.5.2 Acoustic-electric guitar

4.5.3 Twelve-string acoustic guitar

4.5.4 Resonator guitar/slide guitar/Dobro®

5 Appendices

5.1 Technical notes

5.1.1 Helmholtz resonator

5.1.2 Multiphonic analysis

5.1.3 Bi-tone formula for yielding hertz

5.2 Diverse preparations and descriptions from Yates and Elgart

5.3 Track List

5.4 Bibliography

5.4.1 Solo works for the guitar

5.4.2 Guitar solo with ensemble/orchestra

5.4.3 Chamber music with guitar

5.4.4 Large ensemble/orchestral/choral/stage works with guitar

5.4.5 Literature cited

5.4.6 Historical documents

5.5 Index

5.6 About the authors.

Notes:

Includes index.

Description based on print version record.

ISBN:

9783761872390

3761872399

OCLC:

1289371189