Kaija Saariaho is known as a master of beautiful fragile textures, but this example from her concerto for cello, electronics, and ensemble entitled Amers (French for ‘navigation beacons’) demonstrates the way she weaves together harmonics with timbral techniques to create an incredibly vital sound palette for this rhythmic excerpt.

© 1992 Copyright by Chester Music Ltd. Permission of the publishers has been requested.

 


 
Fausto Romitelli‘s Professor Bad Trip: Lesson 2 is known for its Jimi Hendrix-inspired cello cadenza complete with a wa-wa distortion pedal. This excerpt, however, is from the 2nd cello cadenza, this one much briefer but more violent. His pressure notation works well for individual chords as in the latter half here:

© 1999 Copyright by Casa Ricordi. Permission of the publishers has been requested.

 


 
This is an excerpt from an earlier point in the movement. The Italian text below translates roughly to: “Increase the pressure on the bow until the sound is extremely distorted.” The key below the staves reads “The pressure of the bow exaggerated, a distorted sound with little sense of tone and a lot of noise.”
© 1999 Copyright by Casa Ricordi. Permission of the publishers has been requested.

 


 
This excerpt from Hans Thomalla‘s 2010 string quartet Albumblatt displays his use of what he terms “bow too slow.” Here all four voices use the technique at different times with slight variations in the desired sound quality.

© 2010 Copyright by Hans Thomalla. Reprinted with permission from the composer.

 


 
Measures 101-105 show Thomalla’s use of “Air-Noise” in the viola and cello parts. Look at the 2nd-4th bars here:
© 2010 Copyright by Hans Thomalla. Reprinted with permission from the composer.

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