20. Yüzyıl Genişletilmiş Gitar Tekniklerinin Seçilmiş Eserler Üzerinde İncelenmesi
20. yüzyıl döneminde, müzik ve diğer alanlarda sanatta olan anlam arayışı çeşitli sanat akımlarının ortaya çıkmasına neden olmuştur. 20. yüzyıl döneminde besteciler, istedikleri özel efektleri yaratabilmek için genişletilmiş tekniklere ve modern notasyon kullanımlarına başvururlar. Özellikle dönemin bestecileri; Karlheinz Stockhausen, György Ligeti, Iannis Xenakis, Krzysztof Penderecki, John Cage gibi isimler eserlerinde avangart ögelere ve genişletilmiş çalgı tekniklerine yer verirler. Bu çalışmada, dönemin sanat anlayışının gitar müziğini ve gitar bestecilerini etkilemesiyle 20. yüzyıl bestecilerinin eser örnekleriyle ele alınmıştır. Çalışmanın amacı; 20. yüzyıl döneminde kullanılmaya başlanan genişletilmiş çalgı tekniklerinin, gitar alanına olan yansımalarını ve 20. yüzyılda geliştirilen yeni gitar tekniklerini eser incelemeleriyle literatüre kazandırmaktır. Gitar literatüründe bu çalışmanın yer alması; 20. yüzyıl gitar müziği bestecilerinin eserlerindeki yeni tekniklerinin öğrenilmesi açısından ve kullanılan tekniklerle yeni ses renklerini elde etmek açısından önemlidir. Bu çalışmada genişletilmiş gitar teknikleri; Roland Dyens “Libra Sonatine” “A Night in Tunisia” “Fantasie”, Paulo Bellinati “Jongo”, Leo Brouwer “La Espiral Eterna” , Alberto Ginastera “Sonata”, Nikita Kushkin “Usher Valse”, Francis Kleynjans “A L’aube du Derneir Jour” eserleri üzerinde incelenmiştir.
Analysis of 20th Century Extended Guitar Techniques on Selected Works
In the 20th century, the search for meaning in music and other areas of art led to the emergence of various art movements. In the 20th century, composers resorted to extended techniques and modern notation in order to create the special effects they wanted. Especially composers of the period; Karlheinz Stockhausen, György Ligeti, Iannis Xenakis, Krzysztof Penderecki, John Cage, etc. included avant-garde elements and extended instrument techniques in their works. In this study, the influence of the artistic understanding of the period on guitar music and guitar composers is handled with examples of works by 20th century composers. The aim of the study is to bring the reflections of the extended instrument techniques, which started to be used in the 20th century period, on the guitar field and the new guitar techniques developed in the 20th century to the literature by analyzing the works. The inclusion of this study in the guitar literature is important in terms of learning the new techniques in the works of 20th century guitar music composers and obtaining new sound colors with the techniques used. In this study, extended guitar techniques have been analyzed on Roland Dyens “Libra Sonatine” “A Night in Tunisia” “Fantasie”, Paulo Bellinati “Jongo”, Leo Brouwer “La Espiral Eterna”, Alberto Ginastera “Sonata”, Nikita Kushkin “Usher Valse”, Francis Kleynjans “A L’aube du Derneir Jour”.
This study investigates the new guitar techniques developed in the 20th century period through analyses of works. In the content of the study, it is presented with the artistic conceptions of the 20th century period and examples of the works of the composers of the period. The 20th century period is divided into two as modernism and postmodernism. In the 20th century period, in which many movements took place, innovative approaches emerged in many fields of art. Expanded instrument techniques in the field of music are among these innovations. With the Expressionism movement and then postmodernism, it is seen that extended instrument techniques and contemporary/graphic notations are used to create special timbres in the works. Composers, especially in the second half of the 20th century, construct their works with innovative, unusual (motifs) and avant-garde elements. In this study, while analysing the use of extended techniques on the guitar, the composers of 20th century music, Karlheinz Stockhausen, György Ligeti, Iannis Xenakis, Krzysztof Penderecki’s works are handled with extended instrument techniques and contemporary / graphic notation. In the works of K. Stockhausen "Gruppen" for 3 orchestras, G. Ligeti "Atmospheres", I. Xenakis "Metastaseis", K. Penderecki "Threnody for the Victims of Hiroshima", it is observed that the use of extended instrument techniques, contemporary / graphic notation and avant-garde elements.
Looking at the development of guitar music, Francisco Tarrega made significant achievements in the technical development of the guitar in the 19th century. In the 19th century, he made significant contributions to right and left technique. Tarrega made many studies on guitar technique and had an important role in the development of techniques such as “Apoyando”, “Left hand legato”, “Tirando”, “Bare”, “Tremolo”, “Harmonic”, “Pizzicato”, etc., which are expressed as “traditional guitar technique”. In the 20th century, guitarists such as Agustin Barrios and Andres Segovia had an influence on the first half of the development of guitar music. In the first half of this period, there appear traces of the Romantic period. Also, thanks to Segovia, composers of the Spanish ecole, who were not guitarist composers, composed works in the field of guitar. In the second half of the 20th century, composers included special effects and used extended techniques. In 20th century guitar music, extended instrument techniques are used in the works of composers such as Leo Brouwer, Alberto Ginastera, Francis Kleynjans, Roland Dyens, Paulo Bellinati, Nikita Kushkin. In this period, extended guitar techniques such as “Pulp”, “Unghia”, “Tapping”, “T.R.(non-rezonans)”, “Bend”, “Tambour”, “Portamento”, “Bartok Pizzicatosu”, “Slap”, “Sul tasto”, “Sul ponticello” developed. While composers use extended instrument techniques to create special effects, they also fictionalise the music with unusual and avant-garde elements. In this study, extended guitar techniques are analysed in Roland Dyens "Libra Sonatine" "A Night in Tunisia", "Fantasie", Paulo Bellinati "Jongo", Leo Brouwer "La Espiral Eterna", Alberto Ginastera "Sonata".
It is observed that "Libra Sonatina" has a modal structure, "Sul tasto, Sul ponticello, Dedillo, Tambour, Rasgueado, Bend, Slap" techniques are used, and detailed explanations are made for the special effects in the piece. When the final sentences of the sections of the piece are analysed, it is seen that the final sentences of the first and second sections end with fading and special effects are used, while in the final sentence of the last section, fully extended techniques are used. In "A Night in Tunisia", it is observed that "Tambour, Pulp, Slap, Tapping" techniques are used, while in "Fantasia" techniques such as "Tambour" are used. When Dyens’ writing style is analysed, it is determined that he frequently used extended techniques in his works that he wrote and arranged. "Tambour" (Percussion) technique is used in Bellinati’s "Jongo". In Brouwer’s "La Espiral Eterna", a detailed explanation is included for special effects, it is a work equipped with avant-garde elements; it is observed that special effects, Pizzicato, Tapping techniques and contemporary/graphic notation are used. In Ginestara "Sonata", special effects such as "Whistle", Rasgueado technique and Contemporary/Graphic Notation are used. In Kushkin "Usher Valse", "Bartok Pizzicato", "Bend", "Vibrato" techniques are used. In Kleynjans "A L’aube du Derneir Jour", it is seen that special effects are used in the first part, special effects are used in the second part (bell sound), "Tambour, Slap, Bend" techniques are used. The piece ends with special effects. It was observed that Kleynjans and Brouwer’s pieces use special effects more than the other pieces analysed, and the use of contemporary/graphic notation is at the forefront.
