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    Basic Extended Instrumental Techniques To Understand

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    Yuvash Vaidya
    This document provides an overview of extended instrumental techniques for various instruments, including winds, brass, strings, and general techniques. It lists specific techniques like multiphonics, fluttertongue, slap tongue, and variations in bowing. It also discusses approaches to using extended techniques, such as for special effects, integrating them into traditional composition, distorting historical material, or as byproducts of action notation.

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    Basic Extended Instrumental Techniques To Understand

    Uploaded by

    Yuvash Vaidya
    168 views3 pages
    This document provides an overview of extended instrumental techniques for various instruments, including winds, brass, strings, and general techniques. It lists specific techniques like multiphonics, fluttertongue, slap tongue, and variations in bowing. It also discusses approaches to using extended techniques, such as for special effects, integrating them into traditional composition, distorting historical material, or as byproducts of action notation.

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    Extended techniques and definitions of common orchestral instruments

    Original Title

    Basic Extended Instrumental Techniques to Understand

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    This document provides an overview of extended instrumental techniques for various instruments, including winds, brass, strings, and general techniques. It lists specific techniques like multiphonics, fluttertongue, slap tongue, and variations in bowing. It also discusses approaches to using extended techniques, such as for special effects, integrating them into traditional composition, distorting historical material, or as byproducts of action notation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    168 views3 pages

    Basic Extended Instrumental Techniques To Understand

    Uploaded by

    Yuvash Vaidya
    This document provides an overview of extended instrumental techniques for various instruments, including winds, brass, strings, and general techniques. It lists specific techniques like multiphonics, fluttertongue, slap tongue, and variations in bowing. It also discusses approaches to using extended techniques, such as for special effects, integrating them into traditional composition, distorting historical material, or as byproducts of action notation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    Basic

    Extended instrumental techniques to understand:



    1. How to notate
    2. What they sound like
    3. How to do them [generally speaking]

    General:
    • Glissando
    • Pitch bend
    • Microtones
    o Fingered
    o Embouchure-bent
    o Scordatura [de-tuned]

    Winds

    Flute:
    • Key-clicks
    • Variations of breathiness
    o All breath, no pitch à Ordinary, pitch-y sound
    • Tongue rams
    • “Pizzicato”
    • Harmonics / Timbre trills
    • Multiphonics
    o Sing-and-play
    o Fingered
    • Fluttertongue

    Oboe
    • Slap tongue [Very difficult]
    • Multiphonics
    • Fluttertongue
    • Harmonics / Timbre trills
    • Key-clicks [not super effective]
    •

    Clarinet
    • Slap tongue [easier on clarinet]
    • Niente attacks
    • Multiphonics
    • Variations of breathiness
    • Harmonics / Timbre trills
    • Key-clicks [on covered-hole instruments, and on Bass clarinet]
    • Smorzando
    • Fluttertongue
    • Teeth-on-reed

    Bassoon
    • Slap tongue [difficult, easier than on the oboe though]
    • Multiphonics
    • Fluttertongue
    • Harmonics / Timbre trills
    • Key clicks
    Brass:

    Horn
    • Breath only
    • Harmonics / Timbre trills
    • Horn rip [rapid upward harmonics glissando]
    • Stopped horn [hand muting]
    • Mouthpiece pops [can do damage to the mouthpiece!]
    • Fluttertongue
    • Pedal tones
    • Mutliphonics [sung / played]

    Trumpet
    • Breath sounds
    • Falls
    • Rips
    • Shakes
    • Vibrato variations
    • Wa-wa mute trills
    • Fluttertongue
    • Pedal tones
    • Mutliphonics [sung / played]

    Trombone
    • Breath sounds
    • Falls
    • Rips
    • Shakes
    • Vibrato variations
    • Wa-wa mute trills
    • Pedal tones
    • Glissandi [limited to tritone]
    • Fluttertongue
    • Mutliphonics [sung / played]
    •

    Tuba
    • Can’t do mute trills!
    • Can do most of the other things…














    Strings:

    Most basic extended techniques on strings are uniform throughout the ensemble:

    Bowing techniques:
    • Jeté
    • Col legno batutto
    • Col legno tratto
    • Bowing behind the bridge
    • Variations in bow placement:
    o Flautando à Estremente sul ponticello
    • Variations in bow pressure:
    o Underpressure bowing à Overpressure bowing

    Pizzicato techniques:
    • Snap pizzicato
    • Fingernail pizzicato
    • Pizzicato behind the bridge
    • “Pizzicato fluido” [Lachenmann]
    • Pizzicato harmonics
    • Left-hand pizzicato

    Fingering techniques
    • Harmonics
    o Bariolage
    o Harmonic glissandos
    § Natural
    § Artificial
    o Non-nodal “harmonics”
    • Variations in vibrato
    o Non-vibrato à Maximally exaggerated vibrato
    • “Whip glissando”
    • Highest note possible

    Other:
    • Scordatura
    • Striking / knocking on the body of the instrument


    Fundamental approaches to extended instrumental techniques:

    1. Ex Tex as ornamental / special effects
    2. Ex Tex as a new vocabulary
    a. As new colors to be integrated in with all the older sounds and techniques, but in the
    service of traditional models of motivic / thematic design / harmonic thinking, etc.
    b. As new abstract materials themselves in a context in which sound and timbre
    (rather than motives and harmonies) are the locus of compositional narrative.
    3. Ex Tex as means of distorting historically received material
    4. Ex Tex as the byproducts of “action notation” – sounds that are contingent on the actions
    that produce them in a pointed way, often involving “decoupling.”

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