He worked with another pioneer in the field of extended techniques, David Tudor. George Crumb, Eleven Echoes of Autumn, Eco I).Īnother technique involves the physical "preparation" of the piano using foreign objects inserted between the strings or attached to the hammers. Composers also instruct the pianist to partially damp strings with the finger tips to create harmonics (e.g. Jennifer Stasack, Crossing Rivers IV, Movement IV, instructs the pianist to use the palms for the white notes ( clustered) and flat hands for the black notes (also clustered). Sofia Gubaidulina, in her Sonata, instructs the pianist to use nontraditional sounds: sounds produced by a glissando performed with a bamboo stick on the piano pegs against a cluster performed on the keyboard a "buzzing" sound created by placing the bamboo stick on vibrating strings pizzicato effects produced by plucking the strings glissando effects produced by rubbing along the strings using a fingernail and a muted effect produced by touching the strings. Henry Cowell also explored these techniques. Karlheinz Stockhausen took these ideas further in his series of works entitled Klavierstücke in which the pianist is often instructed to wear protective gloves while playing cluster glissandi with the hands. He even used special notation for certain of them: "hold keys silently" is indicated by square note heads rather than the usual round ones. His Bagatelles and Mikrokosmos (the series of works for the instruction of young pianists) both contain unusual instructions to the pianist. Composers such as Béla Bartók started to look at the piano as a more percussive instrument and explored various techniques to achieve percussive effects. Though some of these techniques had been explored by earlier composers- Robert Schumann introduces the silent pressing technique into his Carnaval (at the end of Paganini)-the use of these techniques was not widely practised until the 20th century. The sound output can then be subject to alteration, distortion, recording and playback, etc. amplification with phonograph cartridges and/or contact microphones, or regular microphones.Muting can also be provided by placing materials on the strings. placing one hand on the string(s) to mute them while playing the keys with the other hand. bowing the strings with bundles of rosined fishing line or horsehair - introduced by John Cage and used extensively by composer Stephen Scott.battery-operated motors with plastic gears to create continuous string vibrations, as in works by Roger Reynolds. use of other materials to strike the keys, e.g.use of the palms of the hands or the fists-or indeed other body parts-to strike the keys: a technique sometimes known as "piano bashing".flageolet: creating harmonics by touching overtone positions on the string with the finger of one hand and hitting the respective key with the other hand.rubbing the surface of the piano with objects such as rubber balls, etc. This can include devices to create continuous sounds on the body of the piano, e.g. percussive use of different parts of the piano, such as the outer rim.silently depressing one or more keys, allowing the corresponding strings to vibrate freely, thus creating harmonics of the struck or plucked strings.whistling, singing or talking into the piano (with depressed sustain pedal).placing a piano on its side and bowing the strings with horsehair and other materials hitting or plucking the strings directly or any other direct manipulation of the strings introducing foreign objects into the workings of the piano to change the sound quality Piano extended techniques are those in which unorthodox or unconventional techniques are used to create the sound. JSTOR ( June 2019) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed.įind sources: "Piano extended techniques" – news Please help improve this article by adding citations to reliable sources.
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