A Survey of Extended Techniques in the Chilean Guitar Repertoire From 1980 to the Present

Abstract

Extended Techniques (ETs) play a significant role in expanding the expressive possibilities of the guitar and provide performers and composers with a wide palette of innovative sonorities. However, the notation of these techniques in the Chilean guitar repertoire remains uncodified, creating difficulties for musicians seeking to interpret and perform these works. This document presents a comprehensive survey of Extended Techniques in the Chilean guitar repertoire from 1980 to the present, with a focus on the codification of their musical notation. Through extensive fieldwork research, I identified the presence of twenty-four distinct ETs in 116 guitar works. The lack of a standardized notation system for ETs confirmed the need for this study, which aims to provide a notation guide for composers and performers. While literature acknowledges the existence of extended techniques, there has been limited critical discussion regarding their notation. This study addresses this lack by proposing a notation for each extended technique, presenting both descriptive and prescriptive elements in the proposed notation system. To achieve this goal, the study examines key guitar works composed after 1950, most are by European composers, and an extensive survey of the Chilean repertoire, identifying prevalent notational practices and proposing standardized symbols for the ETs encountered. By analyzing the entire repertoire and considering the broader context, this approach allows for the identification of tendencies in the use of specific symbols for each technique. In addition, each ET is discussed in depth in separate sections. The intent of this research is to contribute to the understanding and interpretation of extended techniques in the Chilean guitar repertoire, and to fill a gap in the field of guitar notation.