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String Instrument Extended Techniques String instrument players can use a variety of special techniques, also called “extended techniques” to create special or unique sounds on their instrument. Many composers, especially modern composers, use these special techniques to create a unique tone or atmosphere in their composition. Bowing Techniques Double Stop The technique of playing two notes simultaneously on a bowed stringed instrument. Tremolo A trembling effect created by moving the bow from side to side rapidly using a very small amount of bow. Italian. Spiccato A bowing technique in which the bow bounces lightly upon the string. The term comes from the Italian verb spiccare, meaning "to separate." Ricochet An uncontrolled bouncing on the string occasionally called jeté. The player drops or throws the bow upon the string to start a series of uncontrolled bounces. Ponticello Bowing very close to the bridge to create a harsh tone. Sul tasto Bowing over the fingerboard to create a muted tone. Col legno Italian for "hit with the wood,” this technique involves striking the string with the wood of the bow. Some string players object to col legno playing as it can damage the bow; many players have a cheaper bow which they use for col legno passages. Some players tap the strings with pencils instead of bows, producing a further percussive, lighter sound. Some famous examples of col legno are In ″Dream of Witches' Sabbath" from Symphonie Fantastique by Hector Berlioz, Battalia by Heinrich Ignaz Franz von Biber (1673), ″Mars, Bringer of War" from The Planets by Gustav Holst, and Igor Stravinsky’s The Firebird. In Danse macabre by Camille Saint-Saëns, the strings play col legno to suggest the rattling of skeletons. Scratch tone A scratch tone is produced by bowing the instrument in normal bowing position, but applying very hard pressure to the bow. This produces an extremely loud and grating sound. The closer the player positions the bow toward the bridge, the scratchier the sound produced. Bowing behind the bridge This technique involves bowing the instrument on the short length of string behind the bridge to create a squeaking effect. Two famous examples are Ferde Grofé’s Grand Canyon Suite (where bowing behind the bridge on a violin cadenza is used in the representation of a donkey’s braying) and Krzysztof Penderecki’s Threnody to the Victims of Hiroshima. Pizzicato Techniques Buzz pizzicato Buzz pizzicato is created by placing a left hand finger parallel to the string and plucking the string forcefully so that the plucked string buzzes against the fingernail. An example of this can be found at the beginning of Zhou Long’s Song of the Ch’in (1982). Snap pizzicato Also known as Bartók pizz., snap pizzicato was used often in the music of Béla Bartók. It is commonly thought that Bartók invented the technique, however, Gustav Mahler was actually the first to indicate this technique in his Seventh Symphony. The technique consists of plucking the string away from the fingerboard with the right hand with sufficient force to cause it to snap back and strike the fingerboard creating a snapping sound. Nail Pizzicato Nail pizzicato is another technique invented and used by Bartók. The performer plucks the string with only the fingernail (in standard string performance technique the player uses the pad of the finger). The resulting sound is more harsh and metallic. Left Hand Techniques Harmonic High notes that are achieved on instruments of the violin family when the performer lightly places his finger exactly in the middle of the string. The primary harmonic of any string is directly in the middle of the string length, however, there are additional harmonics on each string at certain intervals. Artificial harmonics Although harmonics are most often used on open strings, occasionally a score will call for an artificial harmonic: playing an overtone on a stopped string. This must be accomplished using two fingers on the fingerboard, one to shorten the string to the desired fundamental (pressing down all the way), and the other touching the node corresponding to the appropriate harmonic (lightly touching). Glissando A glide or slide from one pitch to another. Harmonic glissando A slide from one pitch to another while lightly touching the string to create a whisper effect. Trill Rapidly alternating between two pitches either a half or whole step apart. Usually notated as tr above the primary note. The performer trills up one note from the written pitch. Fingered Tremolo Rapidly alternating between 2 notes that are more than a whole step apart. Usually notated with 3 slash marks in between the 2 pitches to be alternated. Tapping techniques "Silent" fingering A performer can stop the strings with his left hand in an unusually forceful amnner and thereby produce a percussive effect. Although quiet, the name “silent” refers to the fact that the bow is often not applied when performing this effect. Striking the Strings The strings can be struck with the hand or with another object to produce a loud ringing or percussive sound. The performer's right hand is often used for this which leaves the left hand free to finger pitches or dampen the strings. Tapping on the instrument String instruments can be tapped just about anywhere. The body of a string instrument, since it is a resonant cavity, can resound quite loudly when struck with the fingers or another object. Other Techniques Scordatura tuning A scordatura (literally Italian for "mistuning"), also called cross-tuning. Use of alternative tunings allows the playing of otherwise impossible note sequences, double stops, chords or other note combinations, or can be used to create unusual timbres. Mahler’s 4th Symphony involves a violin solo in the 2nd movement in scordatura tuning. In Danse Macabre by SaintSaëns, a solo violin is used where the E-string is tuned to E♭. This changes the open intervals of the double stop A and E to the tri-tone (A and E♭), which is used as the opening motive of the work. Igor Stravinsky's The Firebird makes a rare, perhaps unique, demand for the entire first violin section to retune the E string, in order to play the D major harmonic glissandi of the introduction. Similarly, the final chord of Stravinsky’s The Rite of Spring requires the cellos to retune A to G so it may be played "open" (unstopped by the fingers and consequently more resonant) as part of a quadruple stop. Richard Strauss's tone poem Ein Heldenleben includes a passage in which the second violins must tune their G strings down in order to play a G♭. Ottorino Respighi's tone poem Pines of Rome requires the cellos to tune the low C string down to a B in the third movement. Also, the basses must either have a fifth low B string or tune a C extension down to the B in the third and fourth movements. Johann Sebastian Bach's Fifth Cello Suite is written with the A string, the highest string, tuned down a whole step to a G. The Suite may also be played with standard tuning, but some pitches must be altered, and occasional notes removed to accommodate the tuning. Sordino (or Con Sord) Means “Muted” or “with mute”. String instrument players buy a special device called a mute that they place on their bridge at moments in pieces of music where the composer calls for a mute to be used, notated using one of the terms above.