On violins the tone can be very high, even above human hearing range. The tone is louder at harmonic relations of the bridge string length. Playing the instrument at a string part behind the bridge causes the opposed part of the string to resonate. 3rd bridge is a term more used on electric guitars or prepared guitars, but is the same technique. This fairly common extended technique involves bowing the instrument on the afterlength, the short length of string behind the bridge. This produces an extremely loud and grating sound.īehind the bridge Bowing behind the bridge Because the tailpiece is large and heavy this sound is general of a quite low pitch.Ī scratch tone is produced by bowing the instrument in normal playing position, but applying very hard pressure to the bow. The effect is a muffled and flute-like sound (the technique is often also called flautando).ĭrawing the bow across the tailpiece creates a very quiet resonant sound. Helmut Lachenmann often uses a soft version of this technique, creating a quiet, white-noise-like sound.īowing on the fingerboard (sul tasto or sulla tastiera) creates a soft thin tone. An example of this playing technique can be found in Gérard Grisey's Vortex Temporum (1995). In this case the sound is loud, high pitched and squeaky. The other method involves the performer holding the instrument in their lap, placing the bow parallel to the instrument and firmly dragging it across the side of the bridge. Sul ponticello (bowing near theīridge) is a similar, more common technique. This method could more properly be called 'bowing over the bridge', since the bow hair is usually still in contact with the strings. If it is done while the performer is in normal playing position, the sound produced is quiet, whispery and a bit squeaky. A good example of this technique in a musical work is Helmut Lachenmann's Toccatina, a piece written in 1986 for solo violin which uses many extended techniques.īowing on the bridge Bowing the bridge, second methodīowing on the bridge produces two different effects depending on how it is done. At most the sound is a whisper of the bow hair moving over the wood. 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.īowing techniques Bowing the body of the instrument īowing the body of a string instrument (which can include bowing the sound box, neck, tuning pegs, or scroll) produces a quiet sound whose amplitude differs according to the place bowed, bow pressure and bow speed. These alternative playing techniques have been used extensively since the 20th century. String instruments are capable of producing a variety of extended technique sounds.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |