Bowed string instrument extended technique: Difference between revisions

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{{Short description|Advanced techniques used for the bow on string instruments}}

[[String instruments]] are capable of producing a variety of [[extended technique]] sounds. These alternative playing techniques have been used extensively in 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]].

{{More citations needed|date=September 2020}}

[[String instrumentsinstrument]]s are capable of producing a variety of [[extended technique]] sounds. These alternative playing techniques have been used extensively insince 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 techniques==

=== Bowing the body of the instrument ===

Bowing the body of a string instrument (which can include bowing the [[sound box]], [[neck (music)|neck]], [[tuning pegspeg]]s, or [[scroll (music)|scroll]]) produces almosta noquiet sound whose amplitude differs according to the place bowed, bow pressure and bow speed. At most the sound is a whisper of the [[horsehair|bow hair]] moving over the wood. For this reason bowing the body of an instrument is more of a visual effect than an auditory one. A good example of this technique in a musical work is [[Helmut Lachenmann|Helmut Lachenmann’sLachenmann's]] [[Toccatina (Lachenmann)|Toccatina]], a piece written in 1986 for solo violin which uses many extended techniques.{{citation needed|date=July 2025}}

===Bowing the body of the instrument===

Bowing the body of a string instrument (which can include bowing the [[sound box]], [[neck (music)|neck]], [[tuning pegs]], or [[scroll (music)|scroll]]) produces almost no sound. At most the sound is a whisper of the [[horsehair|bow hair]] moving over the wood. For this reason bowing the body of an instrument is more of a visual effect than an auditory one. A good example of this technique in a musical work is [[Helmut Lachenmann|Helmut Lachenmann’s]] [[Toccatina (Lachenmann)|Toccatina]], a piece written in 1986 for solo violin which uses many extended techniques.

=== Bowing on the bridge ===

[[File:Bowing the bridge.JPG|thumb|Bowing the bridge, second method]]

Bowing on the [[bridge (instrument)|bridge]] produce 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.

Bowing on the [[bridge (instrument)|bridge]] produceproduces 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

The other method involves the performing holding the instrument in their lap, placing the bow parallel to the instrument and firmly draging it across the side of the bridge. In this case the sound is a loud high pitched squeaky. An example of this playing technique can be found in [[Gérard Grisey|Gérard Grisey’s]] [[Vortex Temporum]] (1995).

bridge) is a similar, more common technique.{{citation needed|date=July 2025}}

The other method involves the performingperformer holding the instrument in their lap, placing the bow parallel to the instrument and firmly dragingdragging it across the side of the bridge. In this case the sound is a loud, high pitched and squeaky. An example of this playing technique can be found in [[Gérard Grisey|Gérard Grisey’sGrisey's]] [[Vortex Temporum]] (1995). [[Helmut Lachenmann]] often uses a soft version of this technique, creating a quiet, white-noise-like sound.{{citation needed|date=July 2025}}

===Bowing on the fingerboard===

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).

===Bowing the tailpiece===

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===Scratch tone===

A scratch tone is produced by bowing the instrument in normal playing position, but applying very hard pressure to the bow. This produces andan extremely loud and grating sound.

[[ImageFile:Cello bridge.jpg|100px|right|thumb|Behind the bridge]]

===Bowing behind the bridge===

{{main|3rd bridge}}

This fairly common extended technique involves bowing the instrument on the short length of string behind the bridge. The tone is very high and squeaky. Depending on the instrument the pitch of the tones may or may not be perceived ([[cello|cellos]] and [[double bass|double basses]] are more likely to produce recognizable pitches because of the longer length of their strings).

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 guitar]]s or [[prepared guitar]]s, 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 ([[cello]]s and [[double bass]]es are more likely to produce recognizable pitches because of the longer length of their strings). This technique is used extensively in [[Krzysztof Penderecki|Krzysztof Penderecki's]] ''[[Threnody to the Victims of Hiroshima]]''. Another interesting example is found in [[Ferde Grofé|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.

===Col legno===

{{main|Col legno}}

This technique uses the stick of the bow, where the player flips the bow around so the bow hair is facing up. This technique produces a faint sound.

==Plucking techniques==

On string instruments plucking the strings inis called [[pizzicato]].

[[File:Buzz pizz.JPG|thumb|Cellist performing a buzz pizzicato. Note the fingernail placed parallel to the string.]]

===Buzz pizzicato===

Buzz pizzicato is created by plucking the string forcefully and placing a left hand finger parallel to the string and plucking the string forcefully so that the plucked string buzzes against the [[fingernailfingerboard]]. An exilent example of this can be found at the beginning of [[Zhou Long|Zhou Long’sLong's]] [[Song of the Ch’in]] (1982).

===Snap pizzicato===

Also known as Bartók pizz, snap pizzicato is used extensively in the music of [[Béla Bartók]]. (It is commonly thought that Bartók invented the technique, but [[Gustav Mahler]] already in his [[Symphony No. 7 (Mahler)|Seventh Symphony]] was the first to direct its use.)<ref>[[Norman Del Mar]], ''The Anatomy of the Orchestra'' (1983), p. 98.</ref> The technique consists of plucking the string away from the fingerboard with the right hand with sufficient force to cause it to snap back and strike the fingerboard creating a snapping sound in addition to the pitch itself.

Snap pizzicato was an invented by [[Bartok]] and used extensively in his music. The technique consists of pulling the string back more that would be done normally a releasing it so that it snaps forcefully against the [[fingerboard]]. The resultant sound is a loud snap, and contains very little pitch.

===Nail Pizzicatopizzicato===

Nail pizzicato is another technique invented and used extensively by BartokBartók. To perform a nail pizz.pizzicato, Thethe performer plucks the string with only the fingernail (in slanderedstandard string performance technique the player uses the pad of the finger). The resulting sound is a bit more harsh and metallic.

==Tapping techniques==

==="Silent" fingering===

A performer can stop the strings with histheir left hand in an unusually forceful manuremaneuver and thereby produce a percussive effect. Although quitquiet, the name “silent” is a misnomer and refers to the fact that the bow is often not applied when performing this effect.

===StrikingSlapping the Stringsstrings===

The [[strings (music)|strings]] can be struck with the hand or with another object to produce a loud ringing or percussive sound. The performersperformer's right hand is often used for this which leaves the left hand free to finger pitches or dampen the strings.

===Tapping onKnocking the instrument===

{{See also|Tapping}}

String instruments can be tapped just about anywhere. The body of a string instrument, being a resonant cavity, can resound quit loudly when struck with the fingers or another object.

String instruments can be tapped just about anywhere. The body of a string instrument, beingsince it is a resonant cavity, can resound quitquite loudly when struck with the fingers or another object.

==Miscellaneous effects==

===“Chewing”===

An effect sometimes used for humorous effect by string players, “chewing” is performed by loosening the bow hair and placing the bow, bow hair side up, against the back of the instrument. The bow is then rotated causing the bow stick to pop and crunch as it goes over the coarse bow hairs. This effect, which sounds remarkably like a person chewing something crunchy, is fairly quiet and could benefit from amplification.

===Bow screw glissando===

[[File:Violin bow parts.jpg|thumb|Parts of a violin bow]]

The bow can be held vertically and the screw of the bow placed firmly against a string either at the ___location of a fingered note or at some other point. The string can then be plucked with the right hand and the screw of the bow can be simultaneously dragged up or down the string. The effect of this is to produce a quiet rising or falling ping. This effect is used in [[Helmut Lachenmann|Helmut Lachenmann's]] Toccatina.

==See also==

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==Sources==

{{Reflist}}

==Further reading==

*Blatter, Alfred (1980). ''Instrumentation/Orchestration.'' New York: Schirmer Books.

*[[Anne Lanzilotti|Lanzilotti, Anne]] (2016). [https://www.proquest.com/docview/1847569458 ''Andrew Norman's The Companion Guide to Rome: Influence of Architecture and Visual Art on Composition'']. Phd Diss, [[Manhattan School of Music]].

*{{Cite journal|last=Lanzilotti|first=Anne|date=25 October 2016|title=Cut to a Different World: Andrew Norman|url=https://www.musicandliterature.org/features/2016/10/25/cut-to-a-different-world-andrew-norman|journal=Music & Literature|issn=2165-4026|ref=none}}

*[[Gardner Read|Read, Gardner]] (1969). ''Music Notation.'' 2nd ed. Boston: Crescendo Publishing Co.

*[[Bertram Turetzky|Turetzky, Bertram]] (1989). ''The Contemporary Contrabass''. New and revised edition (originally published in 1976). Berkeley, California: University of California Press. {{ISBN 0520063813. ISBN 9780520063815|978-0-520-06381-5}}.

*[[Paul Zukofsky|Zukofsky, Paul]] (1976). "On Violin Harmonics." In ''Perspectives on Notation and Performance'' ed. [[Benjamin Boretz]] and [[Edward T. Cone]] (New York: Norton, 1976). Essays reprinted from issues of ''[[Perspectives of New Music]]''. The ''Perspectives of New Music'' series. {{ISBN 0393021904. ISBN 9780393021905. ISBN 0393008096. ISBN 9780393008098|978-0-393-02190-5|978-0-393-00809-8}}.

==External links==

*[http://www.shakennotstuttered.com Shaken Not Stuttered] by [[Anne Lanzilotti]] – a free online resource demonstrating extended techniques for strings with masterclass videos and notation suggestions

[http://www.lunanova.org/CelloET/index.html Extended Techniques for Cello] A site devoted to the extended possibilities of the [[cello]].

*[http://www.cellomap.com/index.html Cello Map] {{Webarchive|url=https://web.archive.org/web/20171029121030/http://www.cellomap.com/index.html |date=2017-10-29 }} by Ellen Fallowfield – a practical resource for those who are interested in performing and writing contemporary music for cello

*[http://www.lunanova.org/CelloET/index.html Extended Techniques for Cello] by A[[Craig Hultgren]] – a site devoted to the extended possibilities of the [[cello]].

{{Extended techniques}}

[[Category:Extended techniques]]

[[Category:String performance techniques]]