- Vocal extended technique
Vocalistsare capable of producing a variety of extended techniquesounds. These alternative singing techniques have been used extensively in the 20th century, especially in art songand opera. Particularly famous examples of vocal extended technique can be found in the music of Luciano Berio, John Cage, George Crumb, Peter Maxwell Davies, Hans Werner Henze, György Ligeti, Meredith Monk, Giacinto Scelsi, Arnold Schoenberg, Salvatore Sciarrino, and Karlheinz Stockhausen.
Spoken text is frequently employed. The term “parlando” is a similar direction which is somewhat out of date.
Sprechgesang is a combination singing and speaking. It is usually heavily associated with Arnold Schoenberg (particularly his
Pierrot Lunairewhich uses sprechgesang for its entire duration) and the Second Viennese School. Schoenberg notated sprechgesang by placing a small cross through the stem of a note which indicates approximate pitch. In more modern music “sprechgesang” is frequently simply written over a passage of music.
A vocal tremolo is performed by rapidly pulsing the air expelled from the singer’s lungs while singing a pitch. These pulses usually occur from 4-8 times per second.
A vocal trill is performed by adding singing vibrato while performing a vocal tremolo.
Vocal sounds or even words can be produced while a singer is inhaling. This can create a strained or even humorous effect.
By manipulating the vocal cavity, overtones may be produced. Although traditionally used in the traditional musics of
Mongolia, Tuva, and Tibet, overtones have also been used in the contemporary compositions of Karlheinz Stockhausen("Stimmung"), as well as in the work of David Hykes.
By relaxing the vocal cords, a singer may obtain "undertones" or "subtones," which are produced an inverse overtone series. Although the octave below is the most frequently used undertone, a twelfth below, and other lower undertones are also possible. This technique has been used most notably by
Joan La Barbara. [http://www.lovely.com/albumnotes/notes3003.html]
By overstressing the vocal cords, a multiphonic or chord may be produced. This technique features in the 1968 composition "Versuch über Schweine" by the German composer
Hans Werner Henze.
main article|YodellingYodelling is performed by rapidly alternating between a singer's chest and
frying"-type sound may be produce by means of the glottis. This technique has been frequently used by Meredith Monk.
Besides producing sounds with the mouth singers can be required to clap or snap their fingers. This is usually notated by writing the appropriate word over a not. These gestures are sometimes written on a separate one line staff as well.
Artificial timbral changes
Inhalation of gases
heliumis occasionally used to drastically change the timbre of the voice. When inhaled, helium changes the resonant properties of the human vocal track resulting in a very high squeaky voice. In Salvatore Martirano’s composition "L’s GA" the singer is required to inhale from a helium mask.
Conversely, an unnaturally low voice can be achieved by asking the singer to inhale the harmless gas
Artificial vocal enhancement
Amplification, possibly with electronic distortion of the voice is frequently used in contemporary composition. Through the use of various electronic distortion techniques the possibilities are nearly unlimited. A good example of this can be found in much of the music written and performed by
inging into the piano
There are a number of pieces with require a singer to lean over a (sometimes amplified) piano and sing directly into the strings. If the strings are not dampened the effect is to start audible sympathetic vibrations in the piano. By far the most famous piece to use this technique is "
Ancient Voices of Children" by George Crumb.
Notable performers using extended vocal techniques
Joan La Barbara
*Blatter, Alfred (1980). "Instrumentation/Orchestration." New York: Schirmer Books.
*Read, Gardner (1969). "Music Notation." 2nd ed. Boston: Crescendo Publishing Co.
Bowed string instrument extended technique
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