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Extended Techniques for the Contemporary Violin/Viola. Here, we will take a look at the various ways 20th Century composers extended the palette of sounds for bowed instruments. Various Techniques.
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Extended Techniques for the Contemporary Violin/Viola • Here, we will take a look at the various ways 20th Century composers extended the palette of sounds for bowed instruments.
Various Techniques • Numerous effects can be created on the violin by manipulating bow pressure, placement of the bow on the strings and speed of bow. • More antiquated techniques such as sul ponticello, sul tasto, harmonics, glissando, vibrato, and col legno can be considered foundations for more radically designed extended techniques which are often times the result of a composer’s ingenuity. Presently, most sound producing qualities of the violin have been explored. • Keep in mind, the creation of sound on a violin is not limited to the synthesis of bow and string. The wood, the body of the instrument can also be used as a percussive medium.
Specific Sounds • Krystof Penderewski a Polish composer, is well known for his work with symphonic strings particularly in the composition, Threnody for the Victims of Hiroshima. In this piece, the string instruments are required to play various effects like very aggressive sul ponticello (play very close or on the bridge), playing the highest note possible (noted with an upwards pointing arrow above the note head), extreme tremolos, harmonics. Most of the techniques involved in the piece are of a highly coloristic nature. In fact, there are no real specific pitches indicated in the score. The concept of color as a primary element in composition is adopted by other 20th century composers as well. • Gyorgy Ligeti, well known for his microtonal writing technique, is also quite adept at creating highly original and coloristic orchestrations.
Ligeti • Ligeti likes non vibrato very much. Although it is not an extended technique in the truest sense, it is very much a contemporary concept. Of course, there are the debates of vibrato in period performance practice, primarily from the Baroque period. But it is a different aesthetic altogether.The context in which Ligeti places his non vibrato is an entirely different universe from that of Telemann, Bach or Monteverdi.
