New Techniques and Instruments
Percussive Effects
Percussive Effects include rapping, tapping, slapping, and knocking, using
fingernails, pads of fingers, palms of hand, tuning forks, and other objects
against various parts of the instrument. Different locations will
produce different timbres.
Percussive effects on string instruments include using the bow col legno
(with the wood), on all parts of the instrument.
A vocalist can create short bursts of sound, tongue clicks, trills,
and smacks for percussive effects.
On brass instruments, blowing air through the instrument without producing
a pitch produces a sound like a rush of air. The bell, valves,
and conical section all produce different sounds when struck. Popping
a hand over the mouthpiece while controlling pitch with the valves is another
method. Woodwind players can use many of the same techniques.
The piano and harp will produce a percussive effect when slapping the
strings, or striking the body while the strings are allowed to sustain.
In the prepared piano, the timbre of a grand piano is altered by systematically
placing objects such as screws, bolts, etc., under its strings. The
piano then becomes a percussion section in itself.
Multiphonics
Multiphonics is the effect of producing two or more pitches simultaneously
on a typically monophonic instrument.
It is possible for vocalists to produce multiphonics, but the resulting
pitches are usually unclear, and are more effective for their effect instead
of for their exact notes.
Brass multiphonics is usually produced by the performer singing while simultaneously
playing the instrument.
While using various embouchures and fingerings, multiphonics of three
to five notes may be created on woodwind instruments.
Muting Effects
Muting Effects can be used to produce many different timbres, and are carefully
notated, so as to indicate the material and method of use.
An example of usage is removing and replacing a mute to change the timbre
of a sustaining note, producing varying sounds that could not be produced
any other way.
String instruments can be muted using the standard mute attached to
the bridge. Using the hand to stop the strings produces various effects
depending on the pressure applied.
Covering the mouth with the hand is used for vocal muting. Another
muting effect can be achieved by humming.
Brass instruments have various types of mutes (Harmon, cup, plunger,
etc.) that each produce a different timbre.
Woodwind instuments do not lend themselves to the use of mechanical
muting, due to their construction. However, when a mute is used, it’s generally
some kind of cloth or cardboard cylinder inserted into the bell of the
instrument..
Extensions of Traditional Techniques
Different fingerings for the same pitch will produce different timbres.
An effect for string instruments is to play behind the bridge, on the
short length of string between the bridge and the tailpiece, both with
the bow and pizzicato. Another effect is exaggerated vibrato;
an extremely slow vibrato can produce a quarter-tone variation.
The technique of tone-clusters has been more successfully used in the
string section than any other orchestral group due to the homogeneous tonal
structure in all the string instruments.
New Instruments
Creating new instruments creates a problem of performance expertise.
New instruments can be created that may be quickly mastered, but the simplicity
of the design could prove to be restrictive. New percussion
instruments have been created that do not require a new notation system
nor a new skill set.
Wind-sound sculptures and water-sound sculptures are examples of new
instruments that don’t require a human performer, which then gets around
the performance problems.
Some things to keep in mind when constructing new instruments include:
- Use traditional performance techniques
- Use traditional notation for performance
- Use easily found materials for creation of the new instrument
- Use something from a traditional instrument in the construction
of the new instrument
- Create variations of the new instrument
The new instruments should not inherit the limitations of traditional
instruments, nor should they create their own unnecessary constraints.
These instruments will provide a rich source of new timbres.
Other Effects
Composers sometimes ask performers to move around or leave the stage while
performing. Singing, talking, and whispering during performance can
also be used to challenge audience expectations. As repeated performances
seem to dull their shock value, such dramatic effects seem to have little
lasting value.
If the special effect is an integral part of the musical work, it will
survive even after the initial shock has worn off. A superficial
use of special effects can ruin a work, while skillful use can produce
powerful results.
The use of effects can contribute to the musicality and significance
of a musical work if implemented correctly and without over-use.
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