List of musical pieces which use extended techniques

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This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres.

Sequenzas I–XIV[vague][citation needed]
"Dream of Witches' Sabbath" from Symphonie Fantastique. The violins and violas play col legno, striking the wood of their bows on the strings (Berlioz 1899, 220–22).
Battalia (1673). The strings play col legno, striking the wood of their bows on the strings, in addition to numerous other techniques (Boyden 2001).
Le calife de Bagdad (opera, 1800), strings play col legno (Favre and Betzwieser 2001).
The Serpent's Kiss piano rag from the Garden of Eden suite (requires the pianists to slap the piano, stamp their feet and click their tongues to emphasise the piece's syncopated rhythm)[citation needed]
Passacaglia from Peter Grimes, rehearsal 6, "agitato", (pp. 16–17 of the score). The violins and violas play col legno, striking the wood of their bows on the strings (Britten 1945, 16–17).
La espiral eterna for Guitar.[citation needed]
prepared piano pieces (1938)
One8 (1991), for curved bow[citation needed]
All works make extensive use of extended techniques.[citation needed]
Tides of Manaunaun (1915), large tone-clusters[citation needed]
The Banshee, Aeolian Harp, and Sinister Resonance, played inside the piano[citation needed]
Black Angels, extended string techniques, including bowing with glass rods[citation needed]
Makrokosmos (1972), prepared and amplified piano[citation needed]
Vox Balaenae (1971), harmonic glissando (gull effect)[citation needed]
Une heure de mariage (opera, 1804). Strings use col legno (Charlton 2001).
Watt, concerto for trombone and orchestra (1994). Features "ample use of extended techniques" (Pace 1997, 19).
Concert Music for Solo Clarinet (1960) makes use of many extended clarinet techniques, including multiphonics, alternate fingerings, and extremely high pitches.[citation needed]
Miqi'nahual (1993) from his modular composition Doloritas (1992), stringed instrument with two right hand bows[citation needed]
Capriccio stravagante (from Ander Theil newer Paduanen, Gagliarden, Couranten, französischen Arien, 1627). The violins play glissando, pizzicato, tremolo, and in double stops, and use particular effects such as col legno (striking the wood of the bow on the strings) and sul ponticello (bowing close to the bridge), in order to imitate the sounds of a cat, a dog, a hen, the lyre, clarino trumpet, military drum, Spanish guitar, etc. (Boyden 2001; Pyron and Bianco 2001).
Più Mesto (2003), for 2-bow cello[citation needed]
Rosenleben (2006), for clarinet, cello and piano[citation needed]
Lauda (2009), cello concerto (for Anssi Karttunen)[citation needed]
En la soledat i el silenci (2008), for hyper-tempered koto and guitar[citation needed]
Boethius (2008), for biwa[citation needed]
String quartets[citation needed]
Imaginings (1994), stringed instrument with two right hand bows[citation needed]
El Cimarrón, which requires the baritone soloist to laugh, whistle, shout, scream and use falsetto[citation needed]
"Mars, Bringer of War" from The Planets. The strings play col legno, striking the wood of their bows on the strings.[citation needed]
Concord Sonata, use of a 1434 inch long piece of wood to create a cluster chord in the "Hawthorne" movement (Bruh 2011, 179).
Holophony, for amplified string quartet. Scream sounds, duck sounds, saw sounds, reversed attack, energy control, oscillations.[citation needed]
Paranormal, for three amplified snaredrums. Wire brushes (Jazz rake, Dreadlock), metallic sweeping, granular sound, strumming, friction, slap.[citation needed]
Piece with Clocks, for prepared guitar using cork, matches and a foam mute[citation needed]
The Prince's Toys - Suite for Guitar, cross string "snare" technique, string scraped with thumbnail, percussion (striking of the guitar), playing behind the nut or saddle[citation needed]
All works make extensive use of extended techniques.
Aventures[citation needed]
Nouvelles Aventures[citation needed]
Études pour piano: Toches bloquées, piano keys are depressed (blocked) by one hand and 'played' by another, thus not sounding but creating a sound gap.[citation needed]
Symphony No. 1 in D major, third movement (p. 91 of the UE score) first violins, divisi a 3, play col legno tratto, stroking the strings with the wood of their bows (Piston 1955, 22).
Symphony No. 2 in D major, first movement, b. 304–306, all the strings play col legno, striking the wood of their bows on the strings.[citation needed]
Anaklasis (1959), extended string techniques[citation needed]
Polymorphia (1961), extended string techniques[citation needed]
Threnody for the Victims of Hiroshima (1960), extended string techniques[citation needed]
All works make extensive use of extended techniques.[citation needed]
Metal Machine Music, album made completely with audio feedback of guitars[citation needed]
Ogoun Badagris (1976), for 5 percussionists, innovative percussion techniques[citation needed]
Ku-Ka-Ilimoku (1978), for 4 percussionists, innovative percussion techniques[citation needed]
Rotae Passionis (1982), for small ensemble, woodwinds and piano double on percussion, extended percussion, flute and clarinet techniques[citation needed]
Bonham (1988), for 8 percussionists[citation needed]
Rouse makes constant use of extended techniques for percussion and other instruments[citation needed]
For Magister Zacharias, the mechanism of lifting the dampers without the hammers touching the keys is highly-amplified[citation needed]
Danse macabre, the strings play col legno to suggest the rattling of skeletons (Latham 2002)
Gurrelieder (1911), makes use of Sprechstimme (Kennedy 2006)
Die glückliche Hand (1910–13), makes use of Sprechstimme (Kennedy 2006)
Pierrot Lunaire Op. 21 (1912) makes use of Sprechstimme (Kennedy 2006)
Moses und Aron (1930–32), makes use of Sprechstimme (Kennedy 2006)
String Quartet No. 4, op. 37 (1936). Fourth movement (Allegro), b. 882–88, all four instruments play col legno battuto, col legno tratto, and col legno tratto ponticello, on single notes and in double stops, trmolo, and in harmonics (Schoenberg 1939, 101–102).
String Trio, op. 45 (1946). The violin and cello play col legno battuto; the violin plays col legno tratto in double stops; all the instruments play col legno tratto ponticello, double stops; violin and viola play col legno tratto ponticello in double stops, which are also played tremolo (Boyden 2001; Schoenberg 1950, 1–5, 14, 18–19)
All works make extensive use of extended techniques.[citation needed]
The World Looks Red (on Confusion is Sex) on which Lee Ranaldo plays 3rd bridge guitar[citation needed]
The Firebird, the strings occasionally play col legno, striking the wood of their bows on the strings (Stravinsky 1964, 11, 40–43, 94–96, 102–103, 161–62)
Voice' for solo flute[citation needed]
Assobio a játo (1950), requires the flute to play "imitando fischi in toni ascendenti" (imitating whistles in rising tones), accomplished by blowing into the embouchure fff "as if one were warming up the instrument on a cold day" (Villa-Lobos 1953, 12, and an instruction slip inserted in the score).
Chôros no. 8 (1925), for orchestra and two pianos, requires one or both of the pianos to insert paper between the strings for a passage (Villa-Lobos 1928, 109–16).
Concertino for horn and orchestra (1815), requires the hornist to sing while simultaneously playing[citation needed]
Nomos Alpha (1966), for solo cello, uses harmonic glissando[citation needed]
Chronos Kristalla (1990), for string quartet using a special tuning and only natural harmonics[citation needed]

References[edit]

  • Berlioz, Hector. 1899. Episode de la vie d'un artiste: Symphonie fantastique en 5 parties, op. 14. Eulenburgs kleine Partitur-Ausgabe Nr. 422. Leipzig: Ernst Eulenburg.
  • Boyden, David D. 2001. "Col legno". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Britten, Benjamin. 1945. Passacaglia, op. 33b, from the Opera Peter Grimes. Hawkes Pocket Scores no. 84. London: Boosey & Hawkes.
  • Bruh, Christopher. 2011. "The Transitive Multiverse of Charles Ives's 'Concord' Sonata". The Journal of Musicology 28, no. 2 (Spring): 166–94.
  • Charlton, David. 2001. "Dalayrac [D’Alayrac], Nicolas-Marie". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Favre, Georges, and Thomas Betzwieser. 2001. "Boieldieu, (François-)Adrien". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Kennedy, Michael. 2006. "Sprechgesang, Sprechstimme". The Oxford Dictionary of Music, second edition, Joyce Bourne, associate editor. Oxford and New York: Oxford University Press.
  • Latham, Alison (ed.). 2002. “Col legno”, in Oxford Companion to Music. Oxford and New York: Oxford University Press.
  • Morrow, Michael, and Colette Harris. 2001. "Hume, Tobias". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Pace, Ian. 1997. "Never to Be Naught". The Musical Times 138, no. 1857 (November): 17–20.
  • Piston, Walter. 1955. Orchestration. New York: W. W. Norton & Company, Inc.
  • Pyron, Nona, and Aurelio Bianco. 2001. "Farina, Carlo". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Schoenberg, Arnold. 1939. Fourth String Quartet, Op. 37. G. Schirmer’s Edition of Study Scores of Orchestral Works and Chamber Music, no. 21. New York and London: G. Schirmer.
  • Schoenberg, Arnold. 1950. String Trio, Op. 45. Hillsdale, New York: Boelke-Bomart Publications.
  • Stravinsky, Igor. 1964. Zhar-ptitsa [The Firebird], Moscow: Gos. muzykal’noe izd-vo.
  • Traficante, Frank. 2001. "Lyra [leero, leerow, liera, lyro] viol". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Villa-Lobos, Heitor. 1928. Chôros (No 8) pour orchestre. Paris: Éditions Max Eschig.
  • Villa-Lobos, Heitor. 1953. Assobio a játo (The Jet Whistle). New York: Southern Music Publishing Company, Inc.

External links[edit]