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- Q6630057 subject Q8597866.
- Q6630057 abstract "This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres.Luciano BerioSequenzas I–XIVHector Berlioz"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). Heinrich Ignaz Franz von BiberBattalia (1673). The strings play col legno, striking the wood of their bows on the strings, in addition to numerous other techniques (Boyden 2001).François-Adrien BoieldieuLe calife de Bagdad (opera, 1800), strings play col legno (Favre and Betzwieser 2001).William BolcomThe 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)Benjamin BrittenPassacaglia 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).Leo BrouwerLa espiral eterna for Guitar.John Cageprepared piano pieces (1938)One8 (1991), for curved bowAaron CassidyAll works make extensive use of extended techniques.Henry CowellTides of Manaunaun (1915), large tone-clustersThe Banshee, Aeolian Harp, and Sinister Resonance, played inside the pianoGeorge CrumbBlack Angels, extended string techniques, including bowing with glass rodsMakrokosmos (1972), prepared and amplified pianoVox Balaenae (1971), harmonic glissando (gull effect)Nicolas-Marie DalayracUne heure de mariage (opera, 1804). Strings use col legno (Charlton 2001).Pascal DusapinWatt, concerto for trombone and orchestra (1994). Features "ample use of extended techniques" (Pace 1997, 19).John EatonConcert Music for Solo Clarinet (1960) makes use of many extended clarinet techniques, including multiphonics, alternate fingerings, and extremely high pitches.Julio EstradaMiqi'nahual (1993) from his modular composition Doloritas (1992), stringed instrument with two right hand bowsCarlo FarinaCapriccio 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).Carlo ForlivesiPiù Mesto (2003), for 2-bow celloRosenleben (2006), for clarinet, cello and pianoLauda (2009), cello concerto (for Anssi Karttunen)En la soledat i el silenci (2008), for hyper-tempered koto and guitarBoethius (2008), for biwaSofia GubaidulinaString quartetsJonathan HarveyImaginings (1994), stringed instrument with two right hand bowsHans Werner HenzeEl Cimarrón, which requires the baritone soloist to laugh, whistle, shout, scream and use falsettoGustav Holst"Mars, Bringer of War" from The Planets. The strings play col legno, striking the wood of their bows on the strings.Tobias Hume"Harke, Harke", from First Part of Ayres (1605). The viol da gamba plays col legno, with the instruction "Drum this with the back of your Bow" (Boyden 2001; Morrow and Harris 2001; Traficante 2001).Charles IvesConcord Sonata, use of a 143⁄4 inch long piece of wood to create a cluster chord in the "Hawthorne" movement (Bruh 2011, 179).Panayiotis KokorasHolophony, for amplified string quartet. Scream sounds, duck sounds, saw sounds, reversed attack, energy control, oscillations.Paranormal, for three amplified snaredrums. Wire brushes (Jazz rake, Dreadlock), metallic sweeping, granular sound, strumming, friction, slap.Nikita KoshkinPiece with Clocks, for prepared guitar using cork, matches and a foam muteThe Prince's Toys - Suite for Guitar, cross string "snare" technique, string scraped with thumbnail, percussion (striking of the guitar), playing behind the nut or saddleHelmut LachenmannAll works make extensive use of extended techniques.György LigetiAventuresNouvelles AventuresÉtudes pour piano: Toches bloquées, piano keys are depressed (blocked) by one hand and 'played' by another, thus not sounding but creating a sound gap.Gustav MahlerSymphony 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.Krzysztof PendereckiAnaklasis (1959), extended string techniquesPolymorphia (1961), extended string techniquesThrenody for the Victims of Hiroshima (1960), extended string techniquesGérard PessonAll works make extensive use of extended techniques.Lou ReedMetal Machine Music, album made completely with audio feedback of guitarsChristopher RouseOgoun Badagris (1976), for 5 percussionists, innovative percussion techniquesKu-Ka-Ilimoku (1978), for 4 percussionists, innovative percussion techniquesRotae Passionis (1982), for small ensemble, woodwinds and piano double on percussion, extended percussion, flute and clarinet techniquesBonham (1988), for 8 percussionistsRouse makes constant use of extended techniques for percussion and other instrumentsMarc SabatFor Magister Zacharias, the mechanism of lifting the dampers without the hammers touching the keys is highly-amplifiedCamille Saint-SaënsDanse macabre, the strings play col legno to suggest the rattling of skeletons (Latham 2002)Arnold SchoenbergGurrelieder (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)Salvatore SciarrinoAll works make extensive use of extended techniques.Sonic YouthThe World Looks Red (on Confusion is Sex) on which Lee Ranaldo plays 3rd bridge guitarIgor StravinskyThe 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)Toru TakemitsuVoice' for solo fluteHeitor Villa-LobosAssobio 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).Carl Maria von WeberConcertino for horn and orchestra (1815), requires the hornist to sing while simultaneously playingIannis XenakisNomos Alpha (1966), for solo cello, uses harmonic glissandoLa Monte YoungChronos Kristalla (1990), for string quartet using a special tuning and only natural harmonics".
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- Q6630057 comment "This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres.Luciano BerioSequenzas I–XIVHector Berlioz"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). Heinrich Ignaz Franz von BiberBattalia (1673).".
- Q6630057 label "List of musical pieces which use extended techniques".
- Q6630057 homepage forlivesi.