X. The Vanguard Guitar Etudes An

3 1822 03256 7570
UNIVERSITY OF CALIFORNIA, SAN DIEGO
The Vanguard Guitar: Etudes and Exercises for the

Study of Contemporary Music
A dissertation submitted in partial satisfaction of the
requirements for the degree Doctor of Musical Arts
in
Contemporary Music Performance
by
Colin L. McAllister
Committee in charge:
Professor Bertram Turetzky, Chair

Professor Michael Bernstein
Professor Aleck Karis
Professor William Propp
Professor Rand Steiger
2004
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
UMI Number: 3120719
Copyright 2004 by
McAllister, Colin L.
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Chair
University of California, San Diego
2004
TABLE OF CONTENTS
Signature Page.. . ... ...............Hi
Table of Contents......................
List of Tables.. . s t t e s s ®Boao©®oooao©a
Acknowledgements., •VI
Vita.......................... •VII
Abstract .....................
1. Introduction............... ........ 1
II. Expanding the Tonal Frame ....... ...9
III. Developing the Sense of Time: Rhythmic Diversity.. .........16
IV. Developing the Expressive Palette: Timbre and Dynamics...35
Appendix ••••••« •• •••••••••••aoaoasaoaooooo o •••••••••••• •oooeaoe 50

.
Bibliography. s*D4ag»oi*ag«s«gta>«««oa«Ditgt*ai«ggg«a»g«saiai»s«»oiiot«a«oa> gggggggggggggggggggggg 51
iv
LIST OF TABLES
Table 1: Guitarist responses...................*.......... .7
Table 2: Repertoire and specific performance difficulties. .......8
ACKNOWLEDGEMENTS
1extend my heartfelt thanks to the following individuals:
Bertram Turetzky - for being the chair of my committee, my mentor and

friend the last six years. Without you, none of this would have been
possible.
The other members of my committee - Professors Michael Bernstein, Aleck

Karis, William Propp, and Rand Steiger.
Linda Kernohan - for doing a fantastic job of engraving all of the etudes and
exercises.
My guitar students at UCSD, especially Zerick De Anda, who playtested every

exercise and etude.
My guitar teachers - Stuart Fox and Celin Romero.
Lori Bantz, the Blickenstaff and McAllister families, and especially my wife
Cathy.
vi
VITA
EDUCATION
Doctor of Musical Arts - Contemporary Music Performance. University
of California, San Diego, 2004.
Master of Arts - Music Performance. University of California, San Diego,
2000.
Bachelor of Arts - Guitar Performance, University of Colorado, Denver.
1994, cum laude.
SELECTED PERFORMANCES - CLASSICAL GUSTAR

Degree Recitals
D.M.A. Recital #3 - February 2004. Repertoire: Mario Davidovsky -
Synchronisms No. 10, Franco Donatoni - Algo II, Vinko Globokar -
Dialog uber Wasser, Chris Mercer - A Snowball’s Chance {premiere),
Tristan Murail - Tellur, Steve Reich - Nagoya Guitars, Giacinto Scelsi
- KO-THA.
D.M.A. Recital #2 - February 2002. Repertoire: Agustin Barrios - La

Catedral, Elliott Carter - Shard, Elliott Carter - Luimen {West Coast
premiere), Aldo Clementi - Dodici Variazioni, Franco Donatoni - Algo,
Tom Johnson - Failing, Heitor Villa-Lobos - Etudes 10-12.
D.M.A. Recital #1 - April 2001. Repertoire: Pierre Boulez - Le marteau

sans maitre, Alberto Ginastera - Sonata, op.47, Erik Ulman - Blind
Orion {premiere), Takashi Yoshimatsu - Litmus Distance.
M.A. Recital - February 2000. Repertoire: Leo Brouwer - La Espiral

Eterna, Elliott Carter - Changes, Sergio Cervetti - Guitar Music,
Manuel de Falla - Homenaje, Roman Haubenstock-Ramati - Alone 1,
Steve Reich - Electric Counterpoint, Alan Shockley - anthem
[rowhouses. Indianapolis], Torn Takemitsu - Sacrifice.
Solo Recitals
Point Loma Nazarene University. "Music at the Point Concert Series”
San Diego, California. 10/03.
University of San Diego. San Diego, California. 9/03.
Grossmont Guitar Guild. Grossmont College. El Cajon, California. 9/03.
Teatro de la Republica - Queretaro, Mexico. Sponsored by the Consejal
Estatal para la Cultura y las Artes de Queretaro. 6/03.
Colorado College. Colorado Springs, Colorado. 10/02.
University of Colorado. Colorado Springs, Colorado. 10/02.
vfi
Palomar College "Concert Hour”. San Marcos, California. 9/02, 10/00.
Institute for Continued Learning. La Jolla, California. 4/02.
Christian Heritage College "Fall Artist Series”. El Cajon, California. 11/01.
Gluck Chamber Music Series. La Jolla, California. 5/01.
California Institute of the Arts "Guest Artist Series”. Valencia,
California. 10/00.
Faculty Recitals
Christian Heritage College. El Cajon, California. 1999-present
Colorado Christian University. Lakewood, Colorado. 1/98.
Ensemble
"NOISE at the Library” Contemporary Music Series. Sponsored by San
Diego New Music. Quarterly concert at the Athenaeum Library in La
Jolla, 2001 -present. Additional concerts at the California Institute of
the Arts (1/04), Stanford University (1/04), University of San Diego
(5/03), University of Virginia, Charlottesville (11/02), University of
Maryland, Baltimore (11/02).
Synergy@home Concert Series. La Jolla, California. 2000-present.
Monday Evening Concerts - L.A. County Museum of Art, Los Angeles,
California. With SONOR (UCSD’s New Music Ensemble). 11/00, 11/99.
McAllister/Keller Guitar Duo. sfSound Series. San Francisco, California.
3/04.
McAllister/Keller guitar duo. Point Loma Nazarene University. "Music at
the Point Concert Series”. San Diego, California. 10/03
McAllister/Keller guitar duo. California Institute of the Arts - Valencia,
California. 3/01.
Christ Lutheran Church "Musical Mosaics”. San Diego, California. With
Barbara Tobler - soprano, Cathy Blickenstaff - flute, and Robert
Plimpton - organ. 11/03.
St. Mark’s United Methodist Church Concert Series. San Diego,
California. With Barbara Tobler - soprano and Cathy Blickenstaff -
flute. 3/03.
First Babtist Church of San Diego Concert Series. 3/04.
Darmstadt Ferienkurse fur Neue Musik - Darmstadt, Germany. 6/02.
Gluck Chamber Music Series. La Jolla, California. 1998-present.
La Jolla Symphony Orchestra. La Jolla, California. 4/00.
Other UCSD Performances

SONOR (Resident UCSD New Music Ensemble). 10/02, 4/01, 10/00, 2/00,
11/99.
Numerous Faculty and Student Recitals, Forums, Composition Juries,
Festivals, and events.
viii
SELECTED PERFORMANCES - CONDUCTING
"NOISE at the Library” Contemporary Music Series. Sponsored by San
Diego New Music. Repertoire: Webern - Quartet, op.22,
Stockhausen - Kreuzspiel. 10/03.
SONOR (Resident UCSD New Music Ensemble). 2/01.
Numerous Faculty and Student Recitals, Composition Juries, and
Forums. 2000-present.
SELECTED PERFORMANCES - JAZZ & POPULAR

University of California, San Diego Open House. 10/01.
Heal the Earth Festival, Red Rocks Amphitheatre, Denver, Colorado.
6/96.
Concerts at Oak Grove Pavilion. Ojai, California. 12/98.
Musikfest. Bethlehem, Pennsylvania. 8/02, 8/95.
Over 100 Art/Music Festivals in Arizona, California, Colorado, Illinois,
Iowa, Michigan, Minnesota, Nebraska, New Mexico, New York, Ohio,
Oklahoma, Pennsylvania, Texas, Utah, Wyoming. 1995-2003.
RECORDINGS
Solos and Duos fo r Guitar. With guitarist Derek Keller. Old King Cole
Records, 4/04.
Apassionata. With Violinist Malcolm Watson. Xcentric Recordings, 4/03.
Holographic Projections. With Violinist Malcolm Watson. Xcentric
Recordings, 5/96.
LECTURES/MASTERCLASSES PRESENTED
"Electric Counterpoint: Music for Guitar and Electroacoustic Tape.”
Grossmont College. El Cajon, California. 9/03.
"La Guitarra en la Musica de Vanguardia: Seminario de Guitarra Clasica,
Electrica y con Cuerdas de Acero”. El Centro de fnvestigacion y
Estudios de la Musica (CIEM). Mexico City. 6/03.
"90 Years of the Vanguard Guitar: History and Performance of the
Repertoire (1913-2003)”. University of Maryland, Baltimore County.
Baltimore, Maryland. 11/02.
"The Vanguard Guitar: Pedagogy and Performance.” Colorado College.
Colorado Springs, Colorado. 10/02.
"Contemporary Guitar: Performance issues in Recent Music.” University
of Colorado. Colorado Springs, Colorado. 10/02.
"Music for Two Guitars: Helmut Lachenmann’s Salut fu r Caudwell” .
ix
California Institute of the Arts. Valencia, California. 3/01.
GRANTS RECEIVED
University of California, San Diego. Graduate Student Recording Project
Grants. 2001/2002, 2002/2003, 2003/2004.
University of Colorado Undergraduate Research Grant. 'The Modern
Guitarist: A Manual of Techniques and Notations”. 1994.
ACADEMIC SERVICE AND COMMUNITY WORK

Faculty Mentor, Ronald E. McNair Post-Baccalaureate Achievement
Program, University of California, San Diego, 2002-2003.
Executive Director, San Diego New Music (501 (c)(3) Non-Profit
Organization). 8/01 -present.
PRINCIPLE TEACHERS
Classical Guitar: Stuart Fox, Celin Romero
Jazz Guitar: Jerry Hahn, Frank Jermance
Interpretation: Bertram Turetzky, Aleck Karis
Conducting: Rand Steiger
AFFILIATIONS
American Society of Composers, Authors, and Publishers
College Music Society
Guitar Foundation of America
ABSTRACT OF THE DISSERTATION
The Vanguard Guitar: Etudes and Exercises for the

Study of Contemporary Music
by
Colin L. McAllister
Doctor of Musical Arts in Contemporary Music Performance
University of California, San Diego, 2004
Professor Bertram Turetzky, Chair
This dissertation is a collection of etudes and exercises that focuses on three
areas common to most contemporary concert music: the use of non tonal
melodic and harmonic language, increased rhythmic complexity, and an
expanded use of expressive devices (timbre and dynamics). It is written for
the advanced beginner to intermediate level classical guitarist (perhaps
someone in his or her first two years of undergraduate study). Each etude in
xi
this dissertation focuses on the particular musical issue which is featured,
while leaving other aspects of performance relatively unchallenging.
A frequently held belief of instrumental pedagogy in general, and that
of the classical guitar in particular, is that if a student desires to play
contemporary repertoire, he or she must first become a skilled performer of
traditional music, from the Renaissance to the early 20th -century. Only then
will he or she be ready to undertake more recent scores and develop the
skills necessary for the performance of contemporary concert music. As a
result of not confronting these issues at an earlier stage in their training,
most guitarists are unable to approach the contemporary repertoire. The
amount of time and energy required to realize the sounds requested in a
complex score becomes overwhelming and frustrating. I believe that players
will go much further in the realm of contemporary music, be more
exploratory in their interpretations of all music, and become better
musicians if they are taught to assimilate these specific performance
difficulties at an earlier level in their training.
xii
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
L Introduction
For ten years, the m ajority of my activities in both performance and
research has centered on the vanguard classical guitar repertoire composed
in the last half-century. Naturally, my own experiences and insights in this
arena have informed my teaching. Reflecting upon my own musical journey
has led me to contemplate the nascent pedagogy of this repertoire.
i was introduced to contemporary concert music as a freshman in
college, and was soon captivated by the new and unusual sounds that I
heard. When I began searching for scores, 1 soon discovered that most of
the repertoire was difficult to locate or beyond my musical and technical
skills. I was frustrated because I could find little information on how to
approach this music, and my guitar teachers were generally unfamiliar with
the repertoire. I desired a logical path of progress and could not find
suitable pedagogical works in this genre, i now am familiar with several
publications that focus on the learning of contemporary music (see
bibliography). However, I believe that each suffers from one or both of the
following deficiencies:
> The material is too difficult for a player in his or her first few years of
study.
> The material does not focus on specific challenges of performing
contemporary repertoire not found in traditional works.
2
A frequently held belief of instrumental pedagogy in general, and that
of the classical guitar in particular, is that if a student desires to play
contemporary repertoire, he or she must first become a skilled performer of
traditional music, from the Renaissance to the early 20th -century. Only then
will he or she be ready to undertake more recent scores and develop the
skills necessary for the performance of contemporary concert music.
Issues of technique for both the right and left hands are inculcated in
the classical guitar student from the earliest levels of training. Specific
topics include: playing block chords and arpeggios, scales, the barre, slurs,
horizontal and vertical left-hand extensions, shifting, rasgueado, tremolo,
and the development of a good tone. Many sets of etudes from Carcassi to
Villa-Lobos and 19th-century repertoire from guitarist/composers including
Giuliani, Sor, and Aguado are studied that further develop and refine these
idiomatic techniques. Performance of Bach and other Baroque and
Renaissance composers for the lute expose the student to the art of
counterpoint. However, the specific performance challenges germane to the
contemporary repertoire, e.g. a non tonal harmonic language, heightened
rhythmic challenges, a vast array of expressive markings, extended
techniques, or new systems of notation, are left untouched. As a result of
never confronting these issues, most guitarists are unable to approach the
contemporary repertoire. The amount of time and energy required to
3
realize the sounds requested in a complex contemporary score becomes
overwhelming and frustrating.
As artists, I believe that part of our vocation consists of being creative
and active exponents of the music of our time, since it reflects the world in
which we live. 1have observed that players will go much further in the realm
of contemporary music, be more exploratory in their interpretations of all
music, and become better musicians if they are taught to assimilate these
specific performance difficulties at an earlier level in their training.
The following is a representative list of 19 major pieces in the
repertoire of the last 50 years. In compiling this list, I emphasized pieces
that have made a significant contribution to the evolution of the instrument:
taking it in new directions, posing hitherto unexplored challenges, and
creating new sound worlds. This list was derived after consulting with other
prominent guitarists in the field.1
> Sequenza XI (1988) - Luciano Berio

> Le marteau sans maitre (1954) - Pierre Boulez [gtr, mezzo soprano,
alto flute, viola, vibraphone, xylorimba, percussion]
> Nocturnal, op.70 (1963) - Benjamin Britten
> La Esplrai Eterna (1971) - Leo Brouwer
> Changes (1983) - Elliott Carter
> Synchronisms No. 10 (1992) - Mario Davidovsky [guitar and tape]
1 the Appendix lists the guitarists whom I consulted. Table 1 shows their
responses.
4
> Algo (1977} - Franco Donatoni

> Kurze Schatten II (1988) - Brian Ferneyhough
> Sonata fo r Guitar, op.47 (1976) - Alberto Ginastera
> Kammermusik (1958) - Hans Werner Henze
> Royal Winter Music 1 (1976) - Hans Werner Henze
> Sonant (1960) - Mauricio Kagel [gtr, harp, contrabass, percussion]
> Salut fu r Caudwell (1977) - Helmut Lachenmann [2 guitars]
> Tellur (1977) - Tristan Murafl
> Si le jour parait (1963) - Maurice Ghana
> Electric Counterpoint (1987) - Steve Reich [guitar and tape]
> KO-THA (1967) - Giacinto Scelsi
> Toward the Sea (1981) - Toru Takemitsu [guitar and alto flute]
> Five Bagatelles (1972) - William Walton
In examining these scores (and many others), I noted specific
performance difficulties common to many of them. I did not include
difficulties that would also be found in traditional repertoire, e.g. issues of
technique mentioned above.
> use of non tonal harmonic language

> frequently changing meters
> frequently changing (especially irregular) subdivisions of the beat
> polyrhythms
> frequent use of accelerando/ritardando
> rhythmically fragmented texture
> metric modulations
> frequently changing timbre
> frequent use of crescendo/diminuendo
> frequently changing dynamics
5
> frequent use of pizzicato, especially when rapid changes are

necessary
> frequent use of harmonics, especially higher partials, and when rapid
changes are required
> use of extended techniques
> use of new or unusual systems of notation
These performance difficulties are summarized in Table 2. Extended
techniques (e.g. percussive effects, unusual rasgueados, novel use of the
bottleneck slide) and alternative systems of notation were encountered in
several of these pieces. However, because both of these areas are largely
unique to each specific work, I chose not to address them. The remaining
difficulties can be grouped into three broad categories:
> non tonal melodic and harmonic language

> increased rhythmic complexity
> an expanded use of expressive devices (timbre and dynamics).
This dissertation is a collection of etudes and exercises that focuses on
these three areas common to most contemporary concert music. It is
designed for guitarists who are interested in exploring this repertoire, but
are uncertain where to begin. Teachers who are interested in examining
this genre of music with their students will find these etudes helpful. In each
etude, I have focused on the particular musical issue which is featured,
while leaving other aspects of performance relatively unchallenging. Thus,
the etudes are: short, mostly monophonic with occasional chords, usually
6
situated in the lower positions of the fingerboard, and gymnastically
undemanding for both hands. The etudes in Sections IS and HI are notated
without expressive and dynamic markings. I have le ft these up to the
player’s discretion, and they should be added after becoming familiar with
each etude.
This dissertation is written for the advanced beginner to intermediate
level classical guitarist (roughly corresponding to Levels 5 or 6 in the Royal
Conservatory of Music Guitar series).2 This might be a player in his or her
first two years of undergraduate study, working on the 20 Estudios by
Fernando Sor, the Estudios Sencillos of Leo Brouwer, the Preludes by Heitor
Villa-Lobos, or the Pavanes of Luis de Milan. Since it can be difficult to
locate further sources for study of the contemporary classical repertoire, I
have included an extensive bibliography of books and scores.
As we begin the new millennium, the guitar repertoire continues to
evolve and grow. Many of the most highly regarded composers in the field
are now writing for the instrument, both in solo and ensemble settings. If
this dissertation opens the door to contemporary concert music for others,
then its writing will not have been without merit.
2 published by The Frederick Harris Music Co., Ltd. Mississauga, Ontario.
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81. Expanding the Tonal Frame
During the latter part of the 19th-century, the western system of
heirarchical pitch relationships known as tonality had become weakened
by ever increasing levels of chromaticism. No longer merely an expressive
device, these chromatic tones became predominant, making tonal
relationships increasingly untenable. By the first decade of the 20th-
century, some composers decided to do away altogether with the
concept of tonality, which had been the principle unifying element in
music for more than 200 years. The pitch material of much concert music
of the 20th-century can be classified as atonal, that is, music without a
tonal center. Etudes 1-3 will introduce the ears and fingers to a more
contemporary harmonic and melodic language.
Etude 1 - Impressionism
I was inspired to write Etude 1 while listening to the piano preludes
of French composer Claude Debussy (1862-1918). Prevalent compositional
devices include the use of perfect 4ths and 5ths, parallel movement of
voices, and a chord progression using chromatic mediants (roots of chords
being a major or minor third apart).
10
> Practice Approach:
o Be careful to ensure that all the voices are equally balanced,
o Minimize string noise during shifting.
> Goals:
o to sharpen the listening skills in a chromatic context
o the ability to negotiate an increased number of accidentals
Etude 2 - Bitonality & Chromaticism
This etude, with its Alberti bass accompaniment, uses Fernando Sor’s
Estudio Op.35, No. 13 (#2 in Segovia’s collection) as a model. Bitonality
(the superimposition of two different tonal centers), tritone substitutions,
and other chromatic devices obscure the harmonic movement.
o In the A section, practice the melody and accompaniment
separately.
o In spite of the unusual harmonies, strive for a lyrical and
expressive performance,
o Section A is challenging for the left hand. Be certain to hold
the melodic notes only as long as required.
11
> Goals:
o to sharpen the listening skills in a chromatic context
o the ability to negotiate an increased number of accidentals
Etude 3 - Serialfsm
In the early 1920s, the German composer Arnold Schoenberg (1874-
1951), searching for a way to formally organize music in the absence of
tonality, formulated a "method of composing with twelve tones which are
related only with one another.” The basis of a composition using this
technique is a row (or series) of the twelve tones (or pitch classes)
arranged in an order of the composer's choosing. The tones of this series
may appear in any octave and can be used either successively (as melody)
or simultaneously (as harmony and counterpoint). The series may be used
in retrograde (backwards), inversion, or retrograde inversion, and can be
transposed to any pitch level. This idea is known as twelve-tone or serial
composition. Using the twelve-tone method as an organizing principle was
common in the vanguard music of the 1950s and 1960s. It continues to be
an important influence today.
Etude 3 uses the row from an early serial work, Schoenberg’s Suite
for Piano, op.25 (1923). The row in its basic (also called Prime) form is:
12
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9J j 2 3 4 5 6 7 S 9 10 11 12
o Emphasize the 3/4 time (accent on beat 1) for a lyrical feel,
o in the early stages, practice the upper and lower voices
separately. This will help you make sense of each line,
o measure 5, beat 3 is difficult for the LH - do not hold the
note D for longer than one sixteenth note. This will give the
3rt finger ample time to prepare and play the low G on the 6th
string.
o let the harmonics in mm.14-15 ring out.
> Goal:
o training the ear to function in an atonal context,
o performing non-idiomatic pitch sequences and unusual
interval patterns.
13
Colin McAllister
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Bitonality and Chromaticism

Colin McAllister
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Etude 3 - Serialism
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ill. Developing the Sense of Time: Rhythmic Diversity
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Composer Igor Stravinsky remarked that "rhythm and motion are the
foundations of musical a rt.” Developing a solid rhythmic sense, although
virtually neglected in traditional guitar training, is of paramount
importance when studying the contemporary repertoire. Often, the
greatest challenge to players who are new to this style of music is
comprehending the greater variety of meter and rhythms. Although they
can be intimidating, these rhythmic skills can be assimilated if worked on
methodically.
The etudes in this chapter are designed to equip the player with a
set of skills that will assist in the execution of these rhythms.
Preliminary Exercises
Before attempting the etudes, play through the following exercises.
They can easily be integrated into a daily practice routine. Most players
can competently switch between the regular subdivisions of 2, 3 and 4.
Exercise A adds a level of difficulty by incorporating groups of 5 and 6.
16
17
Exercise A - Changing Subdivisions
> Practice approach:
o always work with a metronome.
o listen to ensure that the divisions of the beat are equal in
length.
o apply this type of practice to scales or other melodic
exercises.
> Goals:
o the ability to accurately subdivide the beat
o the ability to switch quickly and accurately between
different subdivisions
18
Exercise A - Changing Subdivisions
Al.
||P. nlP'.lgl
3 4 12 3 4 3
continue to 7th pos.

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19
Exercise B - Polyrhythms
Many works contain two contrapuntal lines with the beat subdivided
differently in each. This creates a polyrhythm (also called a cross
rhythm). Pianists have the luxury of playing one line with each hand.
Guitarists must articulate both rhythms with just one hand. In the
exercises that follow, one line is played with the right hand fingers, the
other with the thumb. We will look at a few of the most common
polyrhythms: 3 against 2 (3x2), 2x3, 3x4, 4x3, 4x5, 5x4, and 5x3.
My friend and colleague, composer and guitarist Josh Levine (San
Francisco State University) gave me the idea for this next exercise.
This exercise can be adapted to work on any polyrhythm.
o before playing, sing or tap each polyrhythm.
o familiarize yourself with the initial pattern.
o work with a metronome, especially in the early stages of
practice.
o expand this type of practice to include other polyrhythms.
> Goals:
o assimilation of some of the more common polyrhythms
o rhythmic independence of the RH thumb and fingers
o the ability to hear two different rhythms simultaneously
21
Exercise B - Polyrhythms
4
J
warm-up (initial pattern) il &
& it
P
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f r ~ r f r ^ f p
23
Exercise C - Metric Modulation
The metric modulation (also called tempo modulation) is a device that
figures prominently in the music of the American composer Elliott Carter
(*1908), and also George Ferle (*1915). Just as harmonic modulation in the
classical usage involves a common or pivotal chord that exists in both the
old and new keys, metric modulation utilizes a metric unit that proceeds
at the same speed in both the old and new tempi, it makes instantaneous
and accurate tempo changes possible.
The modulation is usually notated in the following manner:
J
= 90 J^«M =60)
j j n n ij t j jt ] j j
This indicates that "the new triplet eighth note equals (will be the same
speed as) the old eighth note. Sf the original tempo is J= 90 (90 beats /
minute), the eighth note has a pulse of 180 beats I minute (since there
are two eighth notes in a quarter). The new triplet eighth note also has a
pulse of 180 beats I minute which, when divided by three, yields a new
tempo of J = 60.
24
Although this is a trivial example, a wide variety of tempo changes are
possible using this technique.
o sing the rhythms while tapping the beat with your hand,
o play the rhythms while singing the beat,
o beat time with your feet while tapping the rhythm,
o use a metronome to check your accuracy.
> Goals:
o the ability to execute varying metric modulations
o to begin and end the exercise at the same tempo
25
Exercise C - Metric Modulation
J—I
J=80 J> =
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1—5
= (J=48) i» .
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5 5
w m
10
(J=64) 80)
X1J7JJ H
26
Etude 4 - Changing Meters
This etude resembles a portion of one of the earliest compositions
containing frequently changing time signatures: "The Sacrificial Dance”
from Part II of The Rite of Spring (1913) by Igor Stravinsky (1882-1971).
o give the rests their full value.
o be certain to make a clear difference between quarter and
eighth notes.
o practice with a metronome set to beat eighth notes - start
slowly and increase the tempo gradually.
> Goals:
o the ability to negotiate frequently changing time signatures
o practicing double / triple stops
Etude 5 - Changing Subdivisions
o before starting this etude, practice Exercise A.
o work with a metronome - begin slowly.
> Goal:
27
o the ability to switch between frequently changing
subdivisions while in a steady meter
Etude 6 - Accelerando / Ritardando
Although the rhythms are precisely notated, this etude provides the
opportunity to practice rubato playing with frequent use of accelerando
(gradually speeding up) and ritardando (gradually slowing down), along with
a few fermati. The harmony is derived mostly from quartal and quintal
chords.
o Play through the etude initially without the accelerandi /
ritardandi to get a feel for the fingerings and rhythms.
> Goal: the ability to negotiate frequent use of rubato
Etude 7 - Fragmented Texture
This study will develop the ability to play in a pointillistic or
fragmented texture and is similar to a part one might see in an ensemble
setting. The time signatures and rhythmic subdivisions change frequently.
28
I recommend counting the 5/16 bar as 2+3, 7/16 as 3+2+2, and 3/16 in one.
These beat groupings are notated in the score.
o before starting this etude, practice Rhythm Exercises A and B
o due to the nature of this piece, a metronome is difficult to
use unless you practice each bar separately. Do this, and
then practice groups of two or four bars,
o be sure to accurately count the rests.
> Goals:
o the ability to negotiate changing meters and changing
subdivisions simultaneously
o playing in a pointillistic I fragmented texture
o introduction to practicing an ensemble part
Etude 8 - Metric Modulation
This etude uses two transpositions of Alexander Scriabin’s (1872-1915)
"mystic chord” as pitch material.
$
m
29
o before playing this etude, practice Exercises A and C
o sing or tap the rhythms first.
o Play through this study initially without the tempo
modulations to get a feel for the fingerings and rhythmic
groupings. When you feel secure, put the modulations back
in.
o use a metronome to check your accuracy - beginning at J=

60, see if you can finish at the starting tempo.
> Goal:
o the ability to execute frequently changing metric
modulations
30
E tu d e 4 - C h a n g in g M e te r s
Colin McAllister
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32
Etude 6 - Accelerando/Ritardando
Colin McAllister
.J = 72
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33
Etude 7 - Fragmented Texture

Colin McAllister
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34
Etude 8 • Metric Modulation

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IV. Expanding the Expressive Patette: Timbre and Dynamics
Section ii introduced the dissolution of the tonal armature that
occurred in the first decade of the lO^-century. Prior to that time, pitch
(melody and harmony) was the focal point around which compositions
were built, while other musical parameters (rhythm, dynamic, and timbre)
remained relatively unexplored or were simply taken for granted. In the
absence of tonality as a unifying element, some composers turned to
these other musical parameters as areas of exploration and structural
importance. Section 111 dealt with rhythm. This section will discuss timbre
(or tone color) and dynamics.
An early example of the use of timbre as a primary compositional
element is the third movement "Summer Morning by a Lake (Colors)” of
Arnold Schoenberg’s Five Pieces fo r Orchestra, op. 16 (1909). The opening
chord has a static quality, with a lack of tonal implications and little
rhythmic motion. In the absence of these elements, the ear focuses on
the subtle changes in timbre, as pitches slowly fluctuate between groups
of instruments. Schoenberg called this technique Klangfarbenmelodie or
"melody of tone colors” (literally sound-color-melody).
Several early ^ -c en tu ry guitarists (including Dionisio Aguado (1784-
1849) and Fernando Sor (1778-1839)) mention explicit and varied methods
of tone production, which led to the coining of the term "the orchestral
35
36
guitar”. However, none made a practice of notating these timbral effects
in their scores or method books. Francisco Tarrega (1852-1909), the
"father of the modern guitar”, described harp-tones, bell-tones, side-drum
effect, trombone, clarinet, and oboe effects via his pupil Pascual Roch’s A
Modem Method fo r the Guitar: School o f Tarrega.1 Sadly, most current
methods do not discuss the areas of timbre and dynamics at all.
For many years, the guitar was marginalized in musical society
because of its poor dynamic range. The repertoire of our time demands
that we consistently work to develop and expand our expressive
capabilities.
Exercise D - Expressive Warmups
The practicing of dynamic and timbral variation can easily be adapted
to almost any warm-up or technique exercise. As an example, play the
following 3-octave E Major scale:
1 Schneider, p. 101
37
Exercise D1
it IV
**
m
W T T ?
I - L - U ®—
IX ! 3 4 3
2 1 IV.
i l ~ 2 1 3------- 3r-
-r = # f f
©■ ©-
ii
IllSm
4
©
3 l
(?
4
1 -1 4
f 1 0
©-
To work on dynamics:
1. Practice the scale starting as softly as possible (let’s call this
p p p p ), gradually getting louder until you reach maximum volume
aap>- then return. Reverse the process (start j f H f ’ ). See how many
distinct levels of dynamic you can produce. A suggested "scale” of
dynamics is:
vppp -ppp-pp-p -™i>-
2. Using this scale of dynamics, play the following, which distributes
these dynamics randomly on individual pairs of notes.
38
Exercise D2
XP »/ or p ff f ***, W i
feft
..J. J . ■■ ■'
—3 4 13 © -
1 3 4 1 3 " 3 ® — (D-
„p l* * M
JJJr t,
i l , M
4 *td J r f'-jf-I f T |? 3------- 3r-
®— ...............-..................
W mv
H
4
©-
@- 1___ 0
3. Alternate each note between W PPP and
To work on variety in timbre:
1. Begin the scale playing molto sul tasto (plucking the strings above
the 12th fre t of the fingerboard)2. Gradually work your way along the
string until you are playing molto sul ponticello (plucking the strings
right next to the bridge). Notice how many distinct variations of
color can be produced. A possible "scale” of RH positions3 is:
2This is also called flautando (fluted tone), harp tone or clarinet tone,
because in theory, plucking the midpoint of a string produces only odd
harmonics, like the tone of a clarinet.
3 These symbols are based on a notation used by composer Gilbert
Siberian ( 1944). Bruno Bartolozzi and Alvaro Company have devised even
more specific systems (see Schneider, p.113).
39
F - Flautando; strike the note at the half-way nodal point [12th fret].
T - Sul Tasto; RH placed between 12th and 19 frets.
B - Sul Boca; RH placed over the soundhole.
N - Normale; RH between soundhole and bridge, nearer soundhole.
P - Ponticello; RH plays as near the bridge as possible.
Notice that turning the fingernails can also effect changes in timbre.
Plucking with the nail parallel to the string produces the brightest attack,
while turning the nail counterclockwise and striking the string at an
oblique angle produces a darker tone.
2. Here, these RH positions are distributed randomly among each pair
of notes of the major scale.
Exercise D3
P F ^
1_ 2 4
r i Jj HH
i
1 3
3 - 3 @---------- <D-------- © '
©-
G>-
B N
2__1
f f if f r ^ 3-------- 3r-
jj* —p
©- ®-
N F
tte
4 3
1 4 ^ \ z k .... 1 " ..
<D------- ~ © 4
1___ 0
3. Play the scale using pizzicato (see Etude 12 for a discussion of the
technique).
40
For a real challenge, try combining two of the above expressive
devices in your performance of the scale. Apply this approach to other
exercises in your practice routine.
Etude 9 - Pontlceilo/Normale/Tasto
The notes and rhythms of Etude 9 are identical to Etude 6. Instead
of shifts in tempo, the arrows indicate gradations of timbre between sul
tasto (over the 12th fret) and sul ponticello (next to the bridge).
o play through the etude initially without the timbre markings
to work on the fingerings and rhythms.
> Goal:
o the ability to perform frequent changes of timbre at tempo.
Etude 10 - Crescendo/Diminuendo
Here again the notes and rhythms are identical to Etude 6. This time,
gradual changes in dynamics are indicated through the use of crescendo
(gradually getting louder) and diminuendo (gradually getting softer). Two
versions are provided. Version One (the first line) is more intuitive
41
(dynamic level rises as pitch rises). Version Two is indicated in the second
line.
o play through the etude initially without the dynamic markings
until you are comfortable w ith the fingerings and rhythms.
> Goal:
o the ability to perform controlled, gradual changes in
dynamics.
Etude 11 - Serialized Dynamics
The concept of serialism (introduced in Section li) was developed by
Arnold Schoenberg as a way of organizing pitch material. This idea was
later expanded upon by Schoenberg’s student Anton Webern (1883-1945).
In the years immediately following World War II, several young composers
(including Olivier Messiaen (1908-1992), Pierre Boulez (*1925), Karlheinz
Stockhausen (*1928), Karel Goeyvaerts (1923-93), and Milton Babbitt (*1916))
extended the idea of serialism to encompass other elements of musical
composition including rhythm, dynamics, and timbre. This approach is
called total or Integral serialism.
Etude 11 uses a "row” of six dynamic indications:
V -f-ff-w f-P P -w p
42
Each note or chord in the etude receives its own dynamic value, as if it
were a complete event in itself, rather than part of a larger idea.
Stockhausen compared the points of sound in his piece Kreuzspiel (one of
the earliest integral serial works, composed 1951) to "stars in the night
sky, each of them an individual".4 As with much serial music, the melody is
characterized by wide leaps. The wide intervals and constantly changing
dynamics can make serial music initially seem awkward and disjointed.
Even when not serialized, frequently changing dynamics are a challenge
often found in the contemporary repertoire. This etude focuses on these
issues.
o Before starting this etude, work on "Exercise D - Expressive
Warmups” until you feel comfortable playing six discrete
levels of dynamics,
o Technically and rhythmically, this is probably the easiest
etude in the book. The dynamics are what make it difficult.
Exaggerate these and strive to give each note an individual
character.
4 Kurtz, 41.
43
Etude 12 - Harmonics & Pizzicato
The bell-like sound of a harmonic is produced
by causing a string to vibrate in segments corresponding to a

mode of vibration other than the fundamental and thus
suppressing altogether the pitch that is produced when the
string vibrates along its entire length. Harmonics are
produced by touching the string lightly at a node for the
desired mode of vibration at the same time that the string is
bowed or plucked. Thus, if a string is bowed or plucked while
being touched lightly at a point one-third of the distance
from one end [seventh fret on the guitar], it will produce the
harmonic with a frequency three times that of the open
string and with a pitch an octave and a fifth higher.5
Natural harmonics are those which can be produced using the open
strings. The strongest harmonics are found at the 12th, 7th, 5th, and 4th (9th)
frets. Artificial harmonics are produced by touching a string with the
right hand i finger a certain distance above any note stopped by the left
hand. The string is then plucked with the a finger of the right hand. For a
photograph of this technique, see Solo Guitar Playing by Frederick Noad.6
Playing clear harmonics requires precision in both right and left hands.
For exercises in performing all types of harmonics, consult Ricardo
Iznaola’s Kltharlogus - The Path to Virtuosity for Guitarists .7
The name pizzicato is taken from the playing of bowed string
instruments, where it indicates that strings are to be plucked rather than
5 New Harvard Dictionary of Music, s.v. "harmonics.”

6 Noad, p. 187
7 Iznaola, pp. 70-73, 88-91, 102-3,115-16.
44
bowed. On the guitar, it refers to something a bit different. Just as
harmonics can be understood as isolating certain partials in a note,
pizzicato filters out the higher partials, resulting in a dull, muted tone.
The most common method of performing this technique (and the one used
in Etude 12) is with the thumb, while the side of the hand rests just above
the saddle to act as a mute.8 Other methods of performing pizzicato were
suggested by Fernando Sor as early as 1830, and further expounded by
Emilio Pujol in his Escuela Razonada de la Guitarra (1956). For an excellent
discussion of the varieties of pizzicato, see The Contemporary Guitar by
John Schneider, pp. 120-26.
o before attempting this etude, practice the scale in Exercise
D using pizzicato,
o although the harmonics in this etude are natural harmonics
on open strings, they must be played using the right hand
technique for artificial harmonics,
o don’t forget to tune the 6th string up to F and the 4th string
to eK
> Goals:
o learning to play harmonics in an integrated texture,
o playing pizzicato.
8 see Noad for a photograph of this position.
45
Etude 9 - Ponticello/ Normale /Tasto

Colin McAllister
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46
Etude 10 - Crescendo/Diminuendo
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47
Etude 11 - Serialized Dynamics

Colin McAllister
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48
Etude 12 - HarmQm.cs.
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Appendix - Guitarists Consulted
Magnus Andersson (Sweden). Email response. 19 August 2003.
Wilhelm Bruck (Germany). Email response. 14 November 2003.
Inouk Demers (Canada). Email response. 3 September 2003.
Alexander Dunn (Canada, Victoria Conservatory of Music). Email response. 22
August 2003.
Eduardo Fernandez (Uruguay). Email response. 28 August 2003.
Pablo Gomez (Mexico). Email response. 25 August 2003.
Sharon Isbin (USA, Jiulliard School of Music). Written response. 18 August 2003.
Seth Josel (Germany). Email response. 28 August 2003.
Frank Koonce (USA, Arizona State University). Email response. 23 August 2003.
David Leisner (USA, Manhattan School of Music). Email response. 23 August
2003.
Geoffrey Morris (Australia). Email response. 18 September 2003.
Apostolos Paraskevas (USA, Berklee College of Music). Email response. 19
September 2003.
Jurgen Ruck (Germany, University of Wurzburg). Email response. 16 September
2003.
John Schneider (USA, Pierce College). Email response. 20 August 2003.
David Starobin (USA, Manhattan School of Music). Email response. 24 August
2003.
David Tanenbaum (USA, San Francisco Conservatory of Music). Email response.
27 August 2003.
50
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UNIVERSITY OF CALIFORNIA, SAN DIEGO

The Vanguard Guitar: Etudes and Exercises for the

A dissertation submitted in partial satisfaction of the

requirements for the degree Doctor of Musical Arts

Contemporary Music Performance

Professor Bertram Turetzky, Chair

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Signature Page.. . ... ...............Hi

List of Tables.. . s t t e s s ®Boao©®oooao©a

II. Expanding the Tonal Frame ....... ...9

III. Developing the Sense of Time: Rhythmic Diversity.. .........16

IV. Developing the Expressive Palette: Timbre and Dynamics...35

Appendix ••••••« •• •••••••••••aoaoasaoaooooo o •••••••••••• •oooeaoe 50

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Table 1: Guitarist responses...................*.......... .7

Table 2: Repertoire and specific performance difficulties. .......8

1extend my heartfelt thanks to the following individuals:

Bertram Turetzky - for being the chair of my committee, my mentor and

The other members of my committee - Professors Michael Bernstein, Aleck

My guitar students at UCSD, especially Zerick De Anda, who playtested every

My guitar teachers - Stuart Fox and Celin Romero.

SELECTED PERFORMANCES - CLASSICAL GUSTAR

D.M.A. Recital #2 - February 2002. Repertoire: Agustin Barrios - La

D.M.A. Recital #1 - April 2001. Repertoire: Pierre Boulez - Le marteau

M.A. Recital - February 2000. Repertoire: Leo Brouwer - La Espiral

Other UCSD Performances

SELECTED PERFORMANCES - JAZZ & POPULAR

ACADEMIC SERVICE AND COMMUNITY WORK

The Vanguard Guitar: Etudes and Exercises for the

Doctor of Musical Arts in Contemporary Music Performance

University of California, San Diego, 2004

Professor Bertram Turetzky, Chair

This dissertation is a collection of etudes and exercises that focuses on three

melodic and harmonic language, increased rhythmic complexity, and an

expanded use of expressive devices (timbre and dynamics). It is written for

the advanced beginner to intermediate level classical guitarist (perhaps

while leaving other aspects of performance relatively unchallenging.

A frequently held belief of instrumental pedagogy in general, and that

of the classical guitar in particular, is that if a student desires to play

contemporary repertoire, he or she must first become a skilled performer of

skills necessary for the performance of contemporary concert music. As a

result of not confronting these issues at an earlier stage in their training,

most guitarists are unable to approach the contemporary repertoire. The

amount of time and energy required to realize the sounds requested in a

complex score becomes overwhelming and frustrating. I believe that players

will go much further in the realm of contemporary music, be more

exploratory in their interpretations of all music, and become better

musicians if they are taught to assimilate these specific performance

difficulties at an earlier level in their training.

research has centered on the vanguard classical guitar repertoire composed

in the last half-century. Naturally, my own experiences and insights in this

arena have informed my teaching. Reflecting upon my own musical journey

has led me to contemplate the nascent pedagogy of this repertoire.

i was introduced to contemporary concert music as a freshman in

the repertoire was difficult to locate or beyond my musical and technical

skills. I was frustrated because I could find little information on how to

suitable pedagogical works in this genre, i now am familiar with several

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