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Writing For String Quartet - Extended Techniques

This document discusses extended techniques for string instruments that expand their expressive capabilities. It lists various techniques like sul tasto, sul ponticello, col legno, glissando, and mutes and describes their effects. The document emphasizes that composers should always have a reason for using effects and clearly indicate how they want techniques performed in the score. It also provides practical considerations for players, stressing the importance of a clear, simple score.

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David Wolfswinkel
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739 views

Writing For String Quartet - Extended Techniques

This document discusses extended techniques for string instruments that expand their expressive capabilities. It lists various techniques like sul tasto, sul ponticello, col legno, glissando, and mutes and describes their effects. The document emphasizes that composers should always have a reason for using effects and clearly indicate how they want techniques performed in the score. It also provides practical considerations for players, stressing the importance of a clear, simple score.

Uploaded by

David Wolfswinkel
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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EXTENDED TECHNIQUES

Expands the vocabulary of the instruments to add greater expression and variety
Adds unusual sound worlds and tones to the music
Expresses something other worldly
Stretch the instrument to the max

Always ask yourself WHY you are using a particular effect / technique. As players, we see a fine
line between an imaginative use of an effect and an effect for its own sake. Always have a
reason, and make it clear in the score where you want the effect. Some pieces have a short
explanation of any effects and how the composer would like them performed at the beginning of
the score.

WHAT HOW EFFECT


Sul Tasto Bow over the fingerboard Wispy, warm, gentle
sounds
Sul ponticello Bow very close to the Glassy, metallic sounds
bridge
Col legno Using the wood of the Percussive effect, with a
bow to tap the string high pitch
Glissando Sliding the finger up or A smooth rising or falling
down the string of pitch
Mute Attach mute to the bridge Dampens the vibrations to
con sordino – with mute create a softer, more
senza sordino – without muffled sound
mute
Practice Mute Attach a larger mute to An extreme version of the
the bridge standard mute. Very quiet

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Extreme vibrato A wider, less controlled Bending of pitch hysterical
version of vibrato sounding
Non vibrato Playing deliberately Sparse, pure tone colour
without vibrato
Bartok pizz Plucking hard allowing the A sharp, loud snap
(noted by a circle with a string to hit the wood of
vertical line at 12 o’clock the fingerboard
above the note in
question)
Left hand pizz Plucked with the left hand Facilitates a quick change
(noted by a + sign above between arco and pizz
the note) (where the pizz is an open
string) Sometimes bowing
and plucking is possible at
the same time.
Bowing on the tailpiece Bowing lightly on the A ghostly whisper
tailpiece
Tapping Using your hand to tap the A tap or knocking sound to
shoulder or body of the add rhythm or effect
instrument
Bow behind the bridge Bowing behind the bridge An unpleasant screech!
where the string is very
short
Microtones Playing less than a An out of tune effect,
semitone quite painful sounding
Harmonics Pure - Touching the string Pure, flute-like quality.
lightly with the left hand Especially effective in soft
at various points of the dynamics
string
Stopped – lightly touching
the string (usually) a
fourth higher than the
stopped note being held
down

For a full comprehensive diagram of how to write Harmonics for string instruments visit

http://www.composershop.com/public/Strings%20harmonics%20table.pdf

10
Practical Considerations are important!

For players it is essential that you have:


A CLEAR SCORE – The clearer, the simpler, the better.

‘arghhhh!’……….

11

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