The New Virtuosity

In the second half of the 20^th Century, composers pushed back traditional limits of technical virtuosity even farther than before in a number of ways:

· pitch: extend ranges to extremes; play or sing previously forbidden intervals (e.g. wide on voice); microtones, multiphonics

· rhythm: reading and performing complex rhythms (e.g. Babbitt’s score to Phonemena)

· dynamics: control extremes, use dynamics as structural element of piece

· timbre: structurally altering instrument (e.g. prepared piano), new playing techniques like clicking keys, stopping or plucking strings, singing into instrument

· articulation: refinement of tonguing, bowing, vibrato

· notation: reading graphic and proportional scores in addition to traditional notation

Some Examples:

• George Crumb, Ancient Voices of Children (on listening CD) contains extended vocal techniques such as flutter-tonguing, tongue clicks, extremely wide intervals executed quickly. There are also extended techniques in the harp part (multiphonics)
• Vinko Globokar, Slovenian trombonist incorporated many extended techniques that can be executed on trombone including blowing air through instrument without buzzing lips, tapping on instrument, making sounds with triggers, etc.