Extended techniques

List of musical pieces which use extended techniques

Sequenzas I-XIV

prepared piano pieces (1938)
One8 (1991), for curved bow

Tides of Manaunaun (1915), large tone-clusters
The Banshee, Aeolian Harp, and Sinister Resonance, played inside the piano

Black Angels, extended string techniques, including bowing with glass rods
Makrokosmos (1972), prepared and amplified piano
Vox Balaenae (1971), harmonic glissando (gull effect)

Miqi'nahual (1993) from his modular composition Doloritas (1992), stringed instrument with two right hand bows

Più Mesto (2003), for 2-bow cello
Rosenleben (2006), for clarinet, cello and piano
Lauda (2007), cello concerto (for Anssi Karttunen)
En la soledat i el silenci (2008), for hyper-tempered koto and guitar

String quartets

Imaginings (1994), stringed instrument with two right hand bows

El Cimarrón, which requires the baritone soloist to laugh, whistle, shout, scream and use falsetto

Concord Sonata, use of a 14 3/4 inch long piece of wood to create a cluster chord

Holophony, for amplified string quartet. Scream sounds, duck sounds, saw sounds, reversed attack, energy control, oscilations.
Paranormal, for three amplified snaredrums. Wire brushes (Jazz rake, Dreadlock), metallic sweeping, granular sound, strumming, friction, slap.

Piece with Clocks, for prepared guitar using cork, matches and a foam mute
The Prince's Toys - Suite for Guitar, cross string "snare" technique, string scraped with thumbnail, percussion (striking of the guitar), playing behind the nut or saddle

Aventures
Nouvelles Aventures

Five Preludes for piano (1977) inside the piano techniques
11.10.83 (Street Cries) for clarinet (1983), quarter-tones and double stops
12.5.83 (Solo for alto recorder) (1983) extended techniques
9.28.85 (Solo for trombone) (1985) extended techniques including air sounds, multiphonics, and voice
6.15.86 (Solo for Baroque oboe) (1986) extended techniques including chords, microtones and timbral modifications. Perhaps the only work for Baroque oboe to include these extended techniques.
5.4.88 (Solo for flute) (1988) air sounds, tongue ram, pizzicato and whistle tones
Three Nocturnes for small ensemble (1995) extended techniques for all instruments
Quatre Tanka for soprano and serpent (1996) extended techniques for serpent Perhaps the only work with extended techniques for serpent.
Silent Durations I through XXVII (2003-2008) most of these works include extended techniques

Anaklasis (1959), extended string techniques
Polymorphia (1961), extended string techniques
Threnody for the Victims of Hiroshima (1960), extended string techniques

Ogoun Badagris (1976), for 5 percussionists, innovative percussion techniques
Ku-Ka-Ilimoku (1978), for 4 percussionists, innovative percussion techniques
Rotae Passionis (1982), for small ensemble, woodwinds and piano double on percussion, extended percussion, flute and clarinet techniques
Bonham (1988), for 8 percussionists
Rouse makes constant use of extended techniques for percussion and other instruments

For Magister Zacharias, the mechanism of lifting the dampers without the hammers touching the keys is highly-amplified

Gurrelieder (1911), and
Pierrot Lunaire Op. 21 (1912) which make the use of sprechstimme

Flute Concerto No.1, Op.17 for Flute and Orchestra (2004-2006), and
Violin Concerto No.1, Op.17b for Violin and Orchestra (2004-2006): both works make use of glissando in both the flute and violin as well as string harmonics

Nomos Alpha (1966), for solo cello, uses harmonic glissando

Chronos Kristalla (1990), for string quartet using a special tuning and only natural harmonics

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