Martin Vishnick

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About me: 

As a classical guitarist I have given solo recitals and concerts with small ensembles at major venues in London and the Home Counties. As soloist concert tours around Ireland, Germany and the Netherlands, debut concerts at the Wigmore Hall and Purcell room where way back in 1981.
Concert work has taken me all round the world promoting the commissioned albums - Viva, Classic Guitars by Starlight and Flamenco.
I also work as a composer of concert, media, electro-acoustic and theatre music. Currently, finishing studies for a higher research music degree in composition and pedagogy at City University; Mphil with Simon Emmerson and now PhD with Denis Smalley. The research project is the production of a contemporary Guitar Treatise based on the morphology of guitar sounds.

Audio Samples: 

Mp3 more info: 

Guitar Morphology demo. Extracts from longer pieces drawn together to give an audible idea of my work. My Guitar Treatise (recent research) is intended to develop a contemporary sound language for the instrument, and provide guitarists and composers with a comprehensive sound repertory for compositions and improvisation, based on extended techniques that comprise both developments of existing techniques and techniques invented by the author. In Volume 1, the archetypal morphology of guitar sound – the attack/resonance – is discussed, and this forms the basis for classifying the techniques natural and multiphonic harmonics, snap pizzicato (long), soundhole resonances, bi-tone tapping (long), and mute tapping (long). The techniques bottleneck, snap pizzicato, cross stroke, ‘snare drum’, rapid mute, bi-tone tapping, mute tapping, and pinch mute can be regarded as variants or extensions of the archetypal morphology. Detailed guidance on the execution of the techniques is provided, accompanied by sound examples, and video demonstrations. Where necessary the techniques are discussed in relation to existing practice.
Volume Two comprises two sets of exercises, which explore the musical potential of the techniques, both through the juxtaposing and the merging of morphologies. The first twenty-eight exercises focus on individual techniques, while techniques are combined in the remaining five exercises.
The concluding section is concerned with the use of amplification in performance, and further ideas are proposed for expanding morphological combinations.