# Do you employ extended techniques in your compositions?



## Xenakiboy

Once again, as a composer I'm interested to hear what other composers here are doing in their work.
I estimate that it would be reasonable to assume that with the amount of users here that are composers (ones that share their work and ones that don't) that there will be quite a variety in styles here. As I'm a contemporary composer, having learned many skills and tricks from older composers and more recent composers (including Spectralists for instance), I try and approach different compositional problems with different solutions.

In 2016, we have gone far beyond something just like eg. bowing the strings on a violin in an abnormal way 
Compositions have so much more landscapes to explore now, this is assisted by instrumental techniques. 
How/how many of the composers here are exploring this musical element more in depth?


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## millionrainbows

I've worked with different equal temperaments: 19-tone and 31-tone. I can use synth modules which are tunable, or a keyboard in which the keyboard voltage can be changed.


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## aleazk

The most "over the edge" thing I have used are some microtones.


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## TwoPhotons

So far the most extended technique I've employed is asking the pianist to stamp their feet on the ground. However I'm currently planning on writing a "Sonata for a Broken Railway Crossing" which will involve a bit of self mutilation. (P.S. Only one of the above sentences is true.)


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## millionrainbows

I think the most innovative way to spice things up is to use irrational rhythms, and generally more rhythmic innovation. Note that Boulez' piano sonatas are all "fingers on keys" with no fist-banging or yardsticks. The "classical" elements, and what really makes music be "music" are the basic syntax: pitch, rhythm, and timbre.


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## Xenakiboy

Yes, interesting point.
May I add though, how problematic it is to notate a lot of unconventional compositions in notation software. :scold:


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## Pugg

Xenakiboy said:


> Yes, interesting point.
> May I add though, how problematic it is to notate a lot of unconventional compositions in notation software. :scold:


Big composers didn't have software, so no complaining.


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## Rhombic

Yes, but not indiscriminately. There is absolutely no point in using loads of extended techniques constantly, for no reason, unless it is well thought through. However, they are surely interesting to work with.

Just like Rimsky-Korsakov argues with triangle, piccolo and cymbals: use sparingly, since its effect is inversely proportional to the amount of time that you use it.


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## norman bates

Xenakiboy said:


> Yes, interesting point.
> May I add though, how problematic it is to notate a lot of unconventional compositions in notation software. :scold:


I think that the difficulty of notate certain details is probably one of the most important limitations in classical music.


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## Azol

Rhombic said:


> Just like Rimsky-Korsakov argues with triangle, piccolo and cymbals: use sparingly, since its effect is inversely proportional to the amount of time that you use it.


Very good point. A single cymbal clash in Bruckner 7 Adagio generated more controversy than all the clashes in Tchaikovsky symphonies combined.


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## arnerich

The most experimental piece I ever composed was a waltz for three instruments that was completely beautiful and tonal, but here's the kicker each instrument was in a different metronome marking. It took me about a month to complete 3 minutes of music!


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## Xinver

arnerich said:


> The most experimental piece I ever composed was a waltz for three instruments that was completely beautiful and tonal, but here's the kicker each instrument was in a different metronome marking. It took me about a month to complete 3 minutes of music!


If you don't know the piece, you should take a look at "The unanswered question" by Ives.

What are extended techniques? I suppose compared to the common period.
I've written several tonal polyrhythmic pieces.
I've extensively worked on exotic and alternative scales as harmonic languages by themselves.
I've combines Bartok's axis system with Messiaen's chords.


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