http://sites.siba.fi/en/web/harpnotation/manual/sliding-sounds/glissando/glissandowith-nail http://www.newmusicbox.org/articles/making-noise-extended-techniques-afterexperimentalism/ http://www.newmusicbox.org/articles/category/blogs/ Twelve-tone, modal, quartal, extended tertian, octatonic, whole tone, polytonal, and various other expansions of harmonic language presented a steady stream of new challenges. xtended techniques are messy by design, exploring the chaotic aspects of instruments. !ome composers have called for applying things other than bows to the strings, strings, such such as the glass glass rods used used in "rumb "rumb� s #lack $ngels $ngels %&'()*. %&'()*. +ichael #ach and rances-+arie itti have worked extensively with curved bows and ohn "age "age� s solo cello cello work, ne0, ne0, %&''&* %&''&* was written written with one one in mind. mind. or some composers, composers, one bow isn isn� t enough. itti itti has pioneered pioneered a way of using using two bows in the right hand on the cello. 1n order to access any combination of strings simultaneously, the two-bow technique can be combined with a curved bow. 2e also find find an example example of a performer performer using using two bows bows in onathan onathan 3arvey 3arvey� s 1maginings %&''4* and ulio ulio strada strada� s +iqi� nahual nahual %&''5* %&''5* from from his his &''6 modu modular lar compo compositi sition on 7oloritas. This opens up new possibilities for the bows to interfere with one another in interesting ways. the #ow can be used on other strings such as piano %+aggi 8ayne, 3olding 8atterns, 6))4* and harp %ohn "age, 8ostcards from 3eaven for &-6) harps, &'06*. #ert Turet9ky Turet9ky� s book, The "ontemporar "ontemporary y "ontrabass "ontrabass %&'0'*, is a wonderful wonderful guide guide for composers and and performers. performers. +ore recently, recently, $llen $llen and 8atricia 8atricia !trange� s The "ontemporary iolin %6))&* has shown itself to be an excellent contemporary resource for extended string techniques. xtended techniques for winds and brass include disassembling the instrument and playing various parts independently. +outhpieces can be played alone or tapped like a small percussion instrument. 2ith the mouthpiece alone or with the full instrument, all the extended embouchure effects are available, such as flutter, double, triple, or slap tonguing, a variety of articulations, playing the mouthpiece upside down or biting the mouthpiece and blowing %single reed instruments*, bending the pitch with the embouchure, and various vibrato effects such as changing speed or wide vibrato. "ircular breathing allows for many techniques to be sustained over long periods of time. This author� s works for saxophone saxophone ensemble, ensemble, such such as 8ortals of 7istortion 7istortion %&''0* %&''0* and ndprint %6))4*, employ circular breathing over sustained trilled multiphonics. ;obert ;obert 7ick 7ick� s The ther ther lute lute %&'0'*, %&'0'*, #runo #runo #artol #artolo99 o99i i� s
and 3arvey !ollberger� s >The
%&'(?* are excellent text resources. #;1 !@
