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Under free bowing, however, the string members each determine individually the best way to play a set of notes, collectively producing a deeper sound, free of mechanical restriction. Free bowing is rarely used today in Western classical music because of its lack of communal focus, which can cause musicians to play out of step with each other. [3]
String instruments are capable of producing a variety of extended technique sounds. These alternative playing techniques have been used extensively since the 20th century. 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 ...
Left hand finger patterns, after George Bornoff First position fingerings. While beginning violin students often rely on tapes or markers placed on the fingerboard for correct placement of the left-hand fingers, more proficient and experienced players place their fingers on the right spots without such indications but from practice and experience.
The percussive sound of battuto has a clear pitch element determined by the distance of the bow from the bridge at the point of contact. As a group of players will never strike the string in exactly the same place, the sound of a section of violins playing col legno battuto is dramatically different from the sound of a single violin doing so.
Musicians in free improvisation have also made heavy use of extended techniques. Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and overblowing into a wind instrument without a mouthpiece, or inserting objects on top of the strings ...
This is a list of musical compositions that employ extended techniques to obtain unusual sounds or instrumental timbres. Hector Berlioz "Dream of Witches' Sabbath" from Symphonie Fantastique. The violins and violas play col legno, striking the wood of their bows on the strings (Berlioz 1899, 220–22). Heinrich Ignaz Franz von Biber; Battalia ...
So, naturally, the violin's owner was happy to hear the German violin itself was worth more than $5,000. But she was absolutely shocked when the French Sartory bow was appraised at $20,000.
The Hyperbow project sought to capture the most intricate aspects of violin bowing technique, the subtle elements that immediately and directly impact the sound of the instrument while playing. It uses accelerometers and electromagnetic field sensor in order to track the instrument's motion. [4]
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