Bowed string instrument extended technique
String instruments can produce many sounds beyond normal bowing. Since the 20th century, composers have used plenty of these extended techniques. Notable works and composers include Penderecki (Threnody to the Victims of Hiroshima), Lutosławski, Crumb, and Lachenmann (Toccatina).
- Bowing the body: Bowing the wood of the instrument (sound box, neck, pegs, or scroll) creates a very soft, whispery sound. The effect depends on where you bow, how hard you press, and how fast you move. Example: Lachenmann’s Toccatina.
- Bowing over or near the bridge:
- Bowing over the bridge while in normal playing position gives a quiet, squeaky, whispery sound.
- Bowing near the bridge (sul ponticello) sounds brighter and more piercing.
- Another method is to hold the instrument and drag the bow along the side of the bridge for a loud, high-pitched squeak (used by Grisey in Vortex Temporum).
- Soft version near the bridge: Lachenmann also uses a softer version of this technique to produce a pale, white-noise-like sound.
- Bowing on the fingerboard (sul tasto or sulla tastiera): Produces a soft, flute-like tone—muffled and airy.
- Across the tailpiece: Dragging the bow across the tailpiece yields a very quiet, resonant sound, usually perceived as a low pitch because the tailpiece is heavy.
- Scratch tone: Bowing with very heavy pressure in the normal position creates a loud, harsh, grating sound.
- Afterlength (behind the bridge): Bowing the short length of string behind the bridge produces a very high, squeaky tone. This concept (3rd bridge) is more commonly used in electric or prepared guitars, but the idea is the same: the other part of the string vibrates in resonance and can produce high harmonics, sometimes beyond easy hearing on violins.
- 3rd bridge technique: Placing the string so the part behind the bridge resonates, often creating strong harmonics. Penderecki’s Threnody uses this approach, and Grofé’s Grand Canyon Suite features a violin cadenza with behind-the-bridge effects.
- Bowing with the bow turned so the hair faces up (stick-bow technique): This produces a faint sound.
- Pizzicato (plucking the strings):
- Regular pizzicato: pluck with the right hand.
- Buzz pizzicato: pluck so the string buzzes against the fingerboard (left hand fingers rest close to the string).
- Snap pizzicato (Bartók pizz): pluck so the string snaps back against the fingerboard, producing a loud snap in addition to the pitch.
- Nail pizzicato: pluck with the fingernail for a harsher, metallic tone.
- Silent or muted effect: The left hand can mute the strings to create a percussive effect, sometimes without using the bow. The sound is quiet but not truly silent, and the right hand may strike or dampen for a clang.
- Percussive strikes and taps: Strings or the instrument body can be struck with the hand or a tool to make loud ringing or percussive sounds.
- Chewing effect: Loosening the bow hair and placing the bow hair side up against the back of the instrument, then rolling the bow so the stick pops and crunches against the hairs. It sounds quirky and is usually quite quiet, sometimes needing amplification.
- Ping by moving the bow screw: Hold the bow vertically and press the screw against a string while plucking with the right hand, then drag the screw along the string to create a quiet rising or falling ping. This is used in Toccatina and other works.
These techniques expand what string players can do, from whispering tones to sharp, percussive sounds, often creating distinctive textures in modern music.
This page was last edited on 1 February 2026, at 23:26 (CET).