Talk:Extended technique

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Untitled

Methinks the amount of performers is beginning to be such that a separate page might not be too much... Aarnepolkusin 06:46, 4 February 2007 (UTC)[reply]

Opening

"Although the use of extended technique was uncommon in the common practice period (c. 1600 - 1900), extended techniques are more common in modern classical music since about 1900."

I would really like to see a citation for that sentence. Obviously from a modern stance looking back, anything that was an extended technique in 1650 would be fairly normal by now. We have to remember that singing in thirds was--at on point--unorthodox. I can think of several techniques for my instrument that are fairly "mainstream" but were considered strange during the 17th century. Jmclark (talk) 21:48, 11 December 2009 (UTC)[reply]

Bass 'Slapping' as extended technique?

Question is here. --Thaddius (talk) 15:03, 11 June 2008 (UTC)[reply]

Microtones?

Are playing microtones really considered extended techniques? On the piano I would say yes, that is, tuning the piano differently to microtones. I don't know whether they are considered extended techniques on wind and brass instruments, but on strings? really? --number googol (edits) 21:31, 28 June 2009 (UTC)[reply]

Although string players will modify their intonation to achieve the best sound, they learn a particular pattern of fingering which only coveres the chromatic tones commonly in use. In fact, the basic finguring is based on diatonic intervals, with the chromatics being "half"-positions. Any deliberately notated use of tones beyond this is therefore "extended" by definition. The use of microtones is actually still very rare, and Alois Hába's experiments are rarely extended beyond local colouring. --Jubilee♫clipman 23:10, 22 October 2009 (UTC)[reply]

Capitalization?

This article's capitalization is extremely inconsistent among the non-proper nouns. Shouldn't all of the things mentioned be lowercase except for the proper nouns? --number googol (edits) 21:37, 28 June 2009 (UTC)[reply]

List of performers

Is there any reason to list the performers in this order? Shouldn't it be in orchestral order (with "other" at the bottom)? --number googol (edits) 04:39, 10 July 2009 (UTC)[reply]

String extended techniques

I should be noted that Heinrich Biber used a number of those techniques. In particular, extreme scordatura with strings crossed in his Mystery Sonatas and Harmonia artificioso-ariosa. These are not modern inventions as the article seems to imply. --Jubilee♫clipman 23:10, 22 October 2009 (UTC)[reply]

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Harp

There is a notable lack of extended harp techniques in the article, and, indeed, a lack of any information related to the instrument. I can see how a problem could be found in the classification of harp techniques relative to those already present — a harp is both a stringed and percussive instrument, similar to a piano, and nearly mimics the piano's layout in terms of note progression in that each string corresponds to a note (although the half-tones corresponding to each note are not given separate strings, like they are with the black keys of a piano). However, this challenge should be no reason to leave out the wealth of extended technique available to this instrument (not all of which is present in the linked site, mind you), which I presume has been left out for so long simply because it hasn't been thought about yet, or because harp isn't as widely played an instrument as those already mentioned in the article.

For reference, there is a piece called "Animal Parade" by Julia Kay Jamieson which heavily utilizes some of these extended techniques. I can provide a scanning of the piece upon request, or you can purchase it if you're so inclined (I don't know why you would, unless you just feel like owning some harp music).Crossark (talk) 20:37, 17 October 2015 (UTC)[reply]

I'm not totally convinced

Yes, I know what's being discussed here, being fascinated with Cage since about 1970. However, the overall impression I receive is that the term is recent, with the definition citing a 2005 article. This clashes in my head with reference to (for instance) Berlioz and Bartok. Is it even a proper apellation, or merely a generic label? When was it first recognized as "a thing"? when was it first named?

How do we categorize performers like Tom Keith, longtime sound-effects guy for A Prairie Home Companion? For that matter, how do [Foley (filmmaking|Foley]] artists fit in here?

That nobody has yet seen fit to mention musique concrète or experimental music generally does suggest to me that this might be nothing more than someone's self-interested hobbyhorse. For that matter, where does it fit within general music pedagogy? Oddly, "pedagogy" appears nowhere here as of this moment.

Can anyone justify that this is NOT merely a glorified Wiktionary entry, or gratuitously padded Disambiguation page?
Weeb Dingle (talk) 16:57, 30 April 2017 (UTC)[reply]