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This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres. *Luciano Berio ::''Sequenza''s I–XIV *Hector Berlioz ::"Dream of Witches' Sabbath" from ''Symphonie Fantastique.'' The violins and violas play ''col legno,'' striking the wood of their bows on the strings . * Heinrich Ignaz Franz von Biber ::''Battalia'' (1673). The strings play ''col legno'', striking the wood of their bows on the strings, in addition to numerous other techniques . *François-Adrien Boieldieu ::''Le calife de Bagdad'' (opera, 1800), strings play ''col legno'' . *William Bolcom ::''The 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 Britten ::''Passacaglia'' 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 . *Leo Brouwer ::''La espiral eterna'' for Guitar. *John Cage ::prepared piano pieces (1938) ::''One8'' (1991), for curved bow *Aaron Cassidy ::All works make extensive use of extended techniques. *Henry Cowell ::''Tides of Manaunaun'' (1915), large tone-clusters ::''The Banshee'', ''Aeolian Harp'', and ''Sinister Resonance'', played inside the piano *George Crumb ::''Black Angels'', extended string techniques, including bowing with glass rods ::''Makrokosmos'' (1972), prepared and amplified piano ::''Vox Balaenae'' (1971), harmonic glissando (gull effect) *Nicolas-Marie Dalayrac ::''Une heure de mariage'' (opera, 1804). Strings use ''col legno'' . *Pascal Dusapin ::''Watt'', concerto for trombone and orchestra (1994). Features "ample use of extended techniques" . *John Eaton ::''Concert Music for Solo Clarinet'' (1960) makes use of many extended clarinet techniques, including multiphonics, alternate fingerings, and extremely high pitches. *Julio Estrada ::''Miqi'nahual'' (1993) from his modular composition ''Doloritas'' (1992), stringed instrument with two right hand bows *Carlo Farina ::''Capriccio 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. (; ). *Carlo Forlivesi ::''Più Mesto'' (2003), for 2-bow cello ::''Rosenleben'' (2006), for clarinet, cello and piano ::''Lauda'' (2009), cello concerto (for Anssi Karttunen) ::''En la soledat i el silenci'' (2008), for hyper-tempered koto and guitar ::''Boethius'' (2008), for biwa *Sofia Gubaidulina ::String quartets *Jonathan Harvey ::''Imaginings'' (1994), stringed instrument with two right hand bows *Hans Werner Henze ::''El Cimarrón'', which requires the baritone soloist to laugh, whistle, shout, scream and use falsetto *Gustav 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" (; ; ). *Charles Ives ::''Concord Sonata'', use of a 14 inch long piece of wood to create a cluster chord in the "Hawthorne" movement . *Panayiotis Kokoras ::''Holophony'', 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 Koshkin ::''Piece with Clocks'', for prepared guitar using cork, matches and a foam mute ::''The Prince's Toys - Suite for Guitar'', cross string "snare" technique, string scraped with thumbnail, percussion (striking of the guitar), playing behind the nut or saddle *Helmut Lachenmann ::All works make extensive use of extended techniques. *György Ligeti ::''Aventures'' ::''Nouvelles Aventures'' ::''Études 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 Mahler ::Symphony 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 . ::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 Penderecki ::''Anaklasis'' (1959), extended string techniques ::''Polymorphia'' (1961), extended string techniques ::''Threnody for the Victims of Hiroshima'' (1960), extended string techniques *Gérard Pesson ::All works make extensive use of extended techniques. *Lou Reed ::Metal Machine Music, album made completely with audio feedback of guitars *Christopher Rouse ::''Ogoun Badagris'' (1976), for 5 percussionists, innovative percussion techniques ::''Ku-Ka-Ilimoku'' (1978), for 4 percussionists, innovative percussion techniques ::''Rotae Passionis'' (1982), for small ensemble, woodwinds and piano double on percussion, extended percussion, flute and clarinet techniques ::''Bonham'' (1988), for 8 percussionists ::Rouse makes constant use of extended techniques for percussion and other instruments *Marc Sabat ::''For Magister Zacharias'', the mechanism of lifting the dampers without the hammers touching the keys is highly-amplified *Camille Saint-Saëns ::''Danse macabre'', the strings play ''col legno'' to suggest the rattling of skeletons *Arnold Schoenberg ::''Gurrelieder'' (1911), makes use of Sprechstimme ::''Die glückliche Hand (1910–13), makes use of Sprechstimme ::''Pierrot Lunaire'' Op. 21 (1912) makes use of Sprechstimme ::''Moses und Aron'' (1930–32), makes use of Sprechstimme ::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 . ::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 (; ) *Salvatore Sciarrino ::All works make extensive use of extended techniques. *Sonic Youth ::The World Looks Red (on ''Confusion is Sex'') on which Lee Ranaldo plays 3rd bridge guitar *Igor Stravinsky ::''The Firebird'', the strings occasionally play ''col legno,'' striking the wood of their bows on the strings *Toru Takemitsu ::''Voice' for solo flute *Heitor Villa-Lobos ::''Assobio 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" . ::''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 . *Carl Maria von Weber ::Concertino for horn and orchestra (1815), requires the hornist to sing while simultaneously playing *Iannis Xenakis ::''Nomos Alpha'' (1966), for solo cello, uses harmonic glissando *La Monte Young ::''Chronos Kristalla'' (1990), for string quartet using a special tuning and only natural harmonics ==References== * * * * * * * * * * * * * * * * * * 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「List of musical pieces which use extended techniques」の詳細全文を読む スポンサード リンク
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