http://sites.siba.fi/en/web/harpnotation/manual/sliding-sounds/glissando/glissando- with-nail http://www.newmusicbox.org/articles/making-noise-extended-techniques-after- experimentalism/ http://www.newmusicbox.org/articles/category/blogs/ Twelve-tone, modal, quartal, extended tertian, octatonic, whole tone, polytonal, and various other expansions of harmonic language presented a steady stream of new challenges. Extended techniques are messy by design, exploring the chaotic aspects of instruments. Some composers have called for applying things other than bows to the strings, such as the glass rods used in Crumb�s Black Angels (1970). Michael Bach and Frances-Marie Uitti have worked extensively with curved bows and John Cage�s solo cello work, One8, (1991) was written with one in mind. For some composers, one bow isn�t enough. Uitti has pioneered a way of using two bows in the right hand on the cello. In order to access any combination of strings simultaneously, the two-bow technique can be combined with a curved bow. We also find an example of a performer using two bows in Jonathan Harvey�s Imaginings (1994) and Julio Estrada�s Miqi�nahual (1993) from his 1992 modular composition Doloritas. This opens up new possibilities for the bows to interfere with one another in interesting ways. the EBow can be used on other strings such as piano (Maggi Payne, Holding Patterns, 2004) and harp (John Cage, Postcards from Heaven for 1-20 harps, 1982). Bert Turetzky�s book, The Contemporary Contrabass (1989), is a wonderful guide for composers and performers. More recently, Allen and Patricia Strange�s The Contemporary Violin (2001) has shown itself to be an excellent contemporary resource for extended string techniques. Extended techniques for winds and brass include disassembling the instrument and playing various parts independently. Mouthpieces can be played alone or tapped like a small percussion instrument. With the mouthpiece alone or with the full instrument, all the extended embouchure effects are available, such as flutter, double, triple, or slap tonguing, a variety of articulations, playing the mouthpiece upside down or biting the mouthpiece and blowing (single reed instruments), bending the pitch with the embouchure, and various vibrato effects such as changing speed or wide vibrato. Circular breathing allows for many techniques to be sustained over long periods of time. This author�s works for saxophone ensemble, such as Portals of Distortion (1998) and Endprint (2004), employ circular breathing over sustained trilled multiphonics. Robert Dick�s The Other Flute (1989), Bruno Bartolozzi�s New Sounds for Woodwind (1967), not to mention talking.larrykrantz.com/etude/etude-05. sucking. and Harvey Sollberger�s "The New Flute" (1975) are excellent text resources. BERIO SEQUENZA Through extended techniques.htm#Circular http://www. by Istvan Anhalt (1982). screaming.com/et/et. Jane Mannings series of books on Contemporary Vocal Repertoire include some extended vocal works. effectively drawing out the unique qualities of the voice. Extended vocal techniques include expressions such as panting. breathing (as an audible effect). and the papers in the research section of this site may also be of interest. hissing. Comparing this performance with the version by Martine Viard. clucking. laughing. The music opens the timbral space. we perceive how the score is personalized differently for each singer while the core of the composition remains. barking. http://andrewhugill.html . whistling. and whispering.com/manuals/clarinet/extended. the score activates and opens the voice of the soloist.html IMPORTANTE the main publication dealing with the history and analysis of extended vocal composition is Alternative Voices. yelling.forthecontemporaryflutist. http://www.