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Bowed string instrument extended technique
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Bowed string instrument extended technique
String instruments are capable of producing a variety of extended technique sounds. These alternative playing techniques have been used extensively since the 20th century. Particularly famous examples of string instrument extended technique can be found in the music of Krzysztof Penderecki (particularly his Threnody to the Victims of Hiroshima), Witold Lutosławski, George Crumb, and Helmut Lachenmann.
Bowing the body of a string instrument (which can include bowing the sound box, neck, tuning pegs, or scroll) produces a quiet sound whose amplitude differs according to the place bowed, bow pressure and bow speed. At most the sound is a whisper of the bow hair moving over the wood. A good example of this technique in a musical work is Helmut Lachenmann's Toccatina, a piece written in 1986 for solo violin which uses many extended techniques.[citation needed]
Bowing on the bridge produces two different effects depending on how it is done. If it is done while the performer is in normal playing position, the sound produced is quiet, whispery and a bit squeaky. This method could more properly be called 'bowing over the bridge', since the bow hair is usually still in contact with the strings. Sul ponticello (bowing near the bridge) is a similar, more common technique.[citation needed]
The other method involves the performer holding the instrument in their lap, placing the bow parallel to the instrument and firmly dragging it across the side of the bridge. In this case the sound is loud, high pitched and squeaky. An example of this playing technique can be found in Gérard Grisey's Vortex Temporum (1995). Helmut Lachenmann often uses a soft version of this technique, creating a quiet, white-noise-like sound.[citation needed]
Bowing on the fingerboard (sul tasto or sulla tastiera) creates a soft thin tone. The effect is a muffled and flute-like sound (the technique is often also called flautando).
Drawing the bow across the tailpiece creates a very quiet resonant sound. Because the tailpiece is large and heavy this sound is general of a quite low pitch.
A scratch tone is produced by bowing the instrument in normal playing position, but applying very hard pressure to the bow. This produces an extremely loud and grating sound.
This fairly common extended technique involves bowing the instrument on the afterlength, the short length of string behind the bridge. The tone is very high and squeaky. 3rd bridge is a term more used on electric guitars or prepared guitars, but is the same technique. Playing the instrument at a string part behind the bridge causes the opposed part of the string to resonate. The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above human hearing range. Depending on the instrument the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of the longer length of their strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima. Another interesting example is found in Ferde Grofé's Grand Canyon Suite where bowing behind the bridge on a violin cadenza is used in the representation of a donkey's braying.
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Bowed string instrument extended technique
String instruments are capable of producing a variety of extended technique sounds. These alternative playing techniques have been used extensively since the 20th century. Particularly famous examples of string instrument extended technique can be found in the music of Krzysztof Penderecki (particularly his Threnody to the Victims of Hiroshima), Witold Lutosławski, George Crumb, and Helmut Lachenmann.
Bowing the body of a string instrument (which can include bowing the sound box, neck, tuning pegs, or scroll) produces a quiet sound whose amplitude differs according to the place bowed, bow pressure and bow speed. At most the sound is a whisper of the bow hair moving over the wood. A good example of this technique in a musical work is Helmut Lachenmann's Toccatina, a piece written in 1986 for solo violin which uses many extended techniques.[citation needed]
Bowing on the bridge produces two different effects depending on how it is done. If it is done while the performer is in normal playing position, the sound produced is quiet, whispery and a bit squeaky. This method could more properly be called 'bowing over the bridge', since the bow hair is usually still in contact with the strings. Sul ponticello (bowing near the bridge) is a similar, more common technique.[citation needed]
The other method involves the performer holding the instrument in their lap, placing the bow parallel to the instrument and firmly dragging it across the side of the bridge. In this case the sound is loud, high pitched and squeaky. An example of this playing technique can be found in Gérard Grisey's Vortex Temporum (1995). Helmut Lachenmann often uses a soft version of this technique, creating a quiet, white-noise-like sound.[citation needed]
Bowing on the fingerboard (sul tasto or sulla tastiera) creates a soft thin tone. The effect is a muffled and flute-like sound (the technique is often also called flautando).
Drawing the bow across the tailpiece creates a very quiet resonant sound. Because the tailpiece is large and heavy this sound is general of a quite low pitch.
A scratch tone is produced by bowing the instrument in normal playing position, but applying very hard pressure to the bow. This produces an extremely loud and grating sound.
This fairly common extended technique involves bowing the instrument on the afterlength, the short length of string behind the bridge. The tone is very high and squeaky. 3rd bridge is a term more used on electric guitars or prepared guitars, but is the same technique. Playing the instrument at a string part behind the bridge causes the opposed part of the string to resonate. The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above human hearing range. Depending on the instrument the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of the longer length of their strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima. Another interesting example is found in Ferde Grofé's Grand Canyon Suite where bowing behind the bridge on a violin cadenza is used in the representation of a donkey's braying.