Extended Techniques Explained in 10 Minutes
ฝัง
- เผยแพร่เมื่อ 18 ต.ค. 2020
- A concise introduction to the world of Extended Techniques, presented by a composer.
NOTE: For copyright reasons I chose not to include excerpts from the composers and works mentioned in this video. However, here are some links if you want to go deeper:
Robert Schumann, ADAGIO UND ALLEGRO, OP. 70
• Schumann - Adagio and ...
Arnold Schoenberg, ERWARTUNG
• Arnold Schoenberg - Er...
Bela Bartók, STRING QUARTET N° 6
• Video
Bruno Bartolozzi, COLLAGE
• Bruno Bartolozzi: Coll...
Luciano Berio, SEQUENZA VII
• Berio - Sequenza VII p...
The Fine Young Cannibals, SHE DRIVES ME CRAZY
• Fine Young Cannibals -...
Helmut Lachenmann, MOUVEMENT (-VOR DER ERSTARRUNG)
• Mouvement (-vor der Er...
Rebecca Saunders, CRIMSON
• Rebecca Saunders - cri...
Heinz Holliger, PNEUMA
• Heinz Holliger: Pneuma...
Kaija Saariaho, LULLABY
• Kaija Saariaho: Lullab...
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Thanks, love this video, lots of interesting topics - and by the way, all those books behind you look so interesting, would you be interested in doing a shelf tour ?
That could be fun!
@@samuel_andreyev yes it would!
Would you consider breaking down Ornette Coleman's Free Jazz? The opening motif is very interesting and I'd love to see an analysis. I know a lot of people get lost listening to the album and I think an explaination would be worthwhile. Love your videos Samuel.
"Enriching human culture with new worlds of sensation, thought, and feeling." Yes!
Very informative video (and well-edited, too - looks great!). Your point towards the end really resonated with me as well, as someone who has grown less and less interested in listening to sound-for-sound’s-sake kind of music, but specifically in the contemp classical music world. The part where about those who don’t abuse this already-exhausted repertoire of ext techs are considered naïve is a sharp point.
Sometimes I feel like I’m under-qualified to make critiques of this part of contemp music when I say things like, how I feel its approach has made this music and community increasingly detached from the rest of reality, where we’ve shifted our priorities to developing this completely alien language with little to no intention of engaging with outsiders - probably because I’d be considered “naïve” by a lot of folks who run the institutions of this music.
I’m glad that a composer vet like yourself shares at least some of these sentiments and concerns
I agree with a lot of your points - I love contemporary music, but the culture often bothers me.
I am really struggling trying to understand what you mean with "sound-for-sound's-sake kind of music": every music is made by sound (or absence of it) and it refers to sound. All other meaning and overstructures, such as emotive response, visual images, narration and what not is something that the listener provides, not the composer, otherwise we must say that a piece of music is like a conversation with words, with a more or less unequivocal meaning that the composer "packs" into sounds and the listener receives, unpacks and understand perfectly. All music is "for sound's sake".
Your closing statement in this video is a valuable one to consider in music production.
Thank you for this video! I like this format of a short overview of the history and nuances of a term. Very interesting and immediately helpful.
Amazing presentation, as always!
Aquest video és extraordinari. Et done la enhorabona de part d'un jove estudiant de compossició a l'est de la peninsula ibèrica, a València. Moltes gràcies.
Love seeing your uploads! Hope you’re doing well
Great video! Love the detailed examples.
Thank you for the video, Samuel! I was expecting the mention of Helmut. I would personally love an 'extended' video on his work/thought :)
Really love your videos, thanks for sharing.
Bravo! Beautiful words towards the end!
Love your videos. I think when many people think about their favorite pieces of music the main thing in their mind is a kind of mood-sphere (stimmung-kreis) that can be immediately sensed as belonging to the work. I wonder if that is also a feature of formalist and conceptual works too.
Very informative, very usefull, thank you for this video, good reserch job man!!!
Great video, Samuel
I was thinking about the Sequenza for Oboe before you mentioned, was pleasantly surprised when you did.
I attended a lecture last year here in Rio held by a French researcher who interviewed Heinz Holliger about the Sequenza VII, and how it was composed during a series of correspondences between Holliger and Berio, on which Holliger sent Berio several descriptions of new kinds of sounds possible for the oboe, as well as the way to notate them, and that Berio based the piece on this collaboration between composer and performer.
Thanks for your comments. Unless you happen to be an oboist, you can't write a piece like that without the input of a performer!
Thanks for the video
i would like very much to hear your analysis and discussion of a work like merzbow's *worms plastic earthbound* which is among my very favorite works from japanese harsh noise. i have listened to it dozens of times with an ear to creating a way to notate something along those lines.
Cursed
I love this. Do you have an online booklist? Books you recommend, books you enjoy, etc.?
th-cam.com/video/ZGmkOtJvJbA/w-d-xo.html
@@samuel_andreyev What was the book you were thumbing though of the multiphonics & extended techniques? Thanks
@@Ella_Rae_Feingold Flûtes au présent by Pierre-Yves Artaud
@@samuel_andreyev Thanks!
Samuel Andreyev thank you!!
These are very cool videos! There could be something about Villa-Lobos or post tonalism!
Very educational..
Yeeees, real content
Can you explain how to notate multiphonics in winds?
Wow! Thanks!
Thank you for the great video! Do you know of any online resources for a complex index of all possible multiphonics? As I am not a wind player, a resource with fingerings would be really helpful -- but I was unable to find the Bartolozzi book anywhere.
This is a really valuable video, which I'll certainly be sharing with my students. Thank you.
I know of one composer in particular who hates the term 'extended': if we want to acknowledge these techniques as part and parcel of instrumental technique and thus the full field of possibility, is that a helpful term?
Hey Samuel, any chance you'll analyze anything off of the Faust S/T? That would be quite the challenge i bet. Thanks for the great videos.
yes!
Please, it would be amazing if you add fragment of the pieces that you quote, in order to see clearly what you are talking about, especially for those like that are not familiar with this kind of music vocabulary. I really enjoy your channel, please keep making this excellente content.
See video description. I can't do this, for copyright reasons, but I provided links.
@@samuel_andreyev Excellent i didnt know about the copyright situation of those pieces. Thank you for your answer
You are allowed to use short clips. There are people here on TH-cam who post reactions to movies where they show 20 minutes or so of the film. Similarly there are people who review music and they also include short snippets. I doubt that a couple of seconds of some avantgarde piece will get you into trouble, it generally falls under the fair use clause.
@@hansmahr8627 You would be surprised. I've often done this in other videos, just short clips from obscure recordings, and had my videos flagged, or muted.
Interesting- I was unaware of that woodwind book. Personally, I was expecting a nod to George Crumb here, He is the poster-child for extended techniques and extended notation.
Great video, thanks, though I was a wee bit disappointed that Harry Partch wasn’t mentioned. But I guess creating a whole sonic universe, including the instruments to populate it, is a little beyond the scope of extended techniques.
No label is big enough to apply to Harry Partch!
I remember reading that Bartok wrote to Cowell asking permission to use clusters, as if he had copyright; and that Cowell replied that he should ask Leo Ornstein.
Thanks for your videos, I am watching most of them and it is great to get into the language and how one can express musical ideas. I am wondering what AI will do to composition. Just for context, I know Sanskrit, the old indian language comparable to latin and Chatgpt4 can already translate even complex sanskrit text with about 90 percent accuracy. I guess at the moment mankind is experienceing the next great humiliation and I would be interested in your take about AI. SInce musical scores are nothing else than symbolic systems and large language models are masters in manipulating symbolic systems, they will soon be able to compose like Bach or any other composer. I think that it is great, because basically in the future it will be very easy to compose music and knowing music theory will make music possible that is now unheard of. I myself am interested in western classical, indian classical, jazz, krautrock, african music and will try to mix it up. did you think of man machine interfaces that will enhance musical composition. do you know something about it...
Expressivity/Expressionism is indeed one reason for searching for new sounds, but what about the areas of research that have led to new techniques - total serialism and its offshoots, and Musique Spectrale? And what of the influence of Musique Concrête and Electronic Music on composers?
It would have been nice if you had shown excerpts of the pieces you mentioned.
I feel like a good example of "extended techniques" that should be more normalized is for viola (or strings in general, if extrapolated properly): Garth Knox's Viola Spaces. I think that has exactly as much worth as anything else in the string etude repertoire, and opens the door into pieces one mightn't be able to play if one's only familiar with the "standard" 18th-19th C rep.
Haven't heard of it, although I know of Garth Knox. Thanks!
7:57 i feel personally attacked lmaooooooo
Here is the thing. The typical academia compositions today - where 90% of the notes have to be some sort of extended techniques, just sound incredibly cliche and ironically, conventional
I am sure the excessive use of extended techniques have come to the point of diminishing return
Yes, that is the point I am attempting to make. Extended techniques are the new 12-tone rows.
have you ever considered doing an analysis of spencer seim's guitar work on one of hella's songs? compositions such as 'republic of rough and ready' or 'cafeteria bananas' are really just begging to be picked apart.
I just found your channel through Dr Jordan Peterson's channel. I will now have to catch up on some of your past videos. Thank you for the content!
What I don't understand is why so many composers try to get new sounds out of instruments while completely ignoring the incredible diversity of instruments that have never (or very rarely) been used by Western composers. Instead of trying desperately to get a new sound out of a violin, why not just use a different instrument, like an Indian sarangi for example. This is generally something that I've always found strange about contemporary avantgarde composers, they try everything they can to do something new and fresh but they will still use the same instruments and the same ensembles that Beethoven used. Sure, there's electronic music but that's also not exactly new. If you're looking for new timbres, why not put together an ensemble composed of instruments that have never been combined before? I'm sure it would sound a lot more unique and interesting than someone scratching around on a cello for the 500th time.
I’m not sure if ur blinking in morse code or not
one blink per word
I watched this video without blinking to balance the blinking scale
🤣
@@samuel_andreyev don’t take it to be offensive, I don’t mean to be, but why are you blinking so much?
good question! Dry eyes, from wearing contacts, combined with staring into the camera. It's under control in my more recent videos.
@@samuel_andreyev i feel you. I’ve been crying like 3 days straight from putting sunscreen around my eyelids.
Classical music will be more interesting and more relevant when it stops molesting violins by slapping them. I’m all for Penderecki and banging on things but there are better ways to get sounds. Classical community needs to stop the self indulgence. “Extended techniques” is just another boring wish wash term. Technology has enabled such a great opportunity for instrumentation that I never want the backside of a violin slapped again. Music that evokes immediate physical and emotional responses will again return to the forefront