Ircam Solo Instruments Ref. Guidefiles5.bestservice.de/demo_files/00005326.pdf · Playing...

REFERENCE GUIDE

IRCAM SOLO INSTRUMENTS

2

Introduction ................................................................................................................. 4

The players ................................................................................................................. 5

About IRCAM.............................................................................................................. 8

INSTRUMENTS LIST ................................................................................................. 9

WOODWINDS............................................................................................................... 10Flute in C................................................................................................................................................................... 10Oboe ......................................................................................................................................................................... 11Clarinet in Bb ............................................................................................................................................................. 12Bassoon .................................................................................................................................................................... 13

BRASS........................................................................................................................ 14Trumpet in C ............................................................................................................................................................. 14Alto Saxophone in Eb................................................................................................................................................ 15French Horn in F....................................................................................................................................................... 16Trombone (tenor-bass)............................................................................................................................................. 17Bass Tuba................................................................................................................................................................. 18

FREE REED................................................................................................................. 19Accordion .................................................................................................................................................................. 19

PLUCKED STRINGS ...................................................................................................... 20Guitar ........................................................................................................................................................................ 20Harp........................................................................................................................................................................... 21

STRINGS..................................................................................................................... 22Violin.......................................................................................................................................................................... 22Viola .......................................................................................................................................................................... 24Violoncello................................................................................................................................................................. 25Contrabass................................................................................................................................................................ 26

Playing techniques and suggested notation.............................................................. 27GENERAL playing techniques ................................................................................................................................. 27WOODWINDS playing techniques........................................................................................................................... 28BRASS playing techniques ...................................................................................................................................... 31GUITAR special playing techniques ........................................................................................................................ 35HARP special playing techniques ............................................................................................................................ 36STRINGS playing techniques .................................................................................................................................. 38


3

Appendix A: Presets list ............................................................................................ 4201 Flute ................................................................................................................................................................... 4202 Oboe ................................................................................................................................................................... 4303 Clarinet in Bb ................................................................................................................................................... 4404 Bassoon ............................................................................................................................................................. 4505 Saxophone Alto in Eb..................................................................................................................................... 4606 French Horn...................................................................................................................................................... 4707 Trumpet in C .................................................................................................................................................... 4808 Trombone.......................................................................................................................................................... 5009 Tuba ................................................................................................................................................................... 5210 Accordion .......................................................................................................................................................... 5411 Guitar ................................................................................................................................................................. 5512 Harp.................................................................................................................................................................... 5613 Violin .................................................................................................................................................................. 5714 Viola.................................................................................................................................................................... 6215 Cello ................................................................................................................................................................... 6616 Contrabass........................................................................................................................................................ 71

Appendix B: Key Switch Reference .......................................................................... 75Regular Key Switches .............................................................................................................................................. 75Duration Key Switches ............................................................................................................................................. 76Natural Harmonics Glissandi Key Switches ............................................................................................................ 76All Positions Key Switches (strings)......................................................................................................................... 77By string Key Switches............................................................................................................................................. 78

CREDITS .................................................................................................................. 79


4

Introduction

A truly unique collection of acoustic solo instruments

In collaboration with the famous IRCAM research department, this brand new collection presents thefinest solo instruments (Violin, Viola, Cello, Contrabass, Flute in C, Oboe, Clarinet, Bassoon, Altosaxophone, French horn, Trumpet, Trombone, Bass tuba, Accordion, Guitar & Harp) played by themost talented contemporary musicians and captured in the very best conditions to ensure maximumfidelity.

This collection not only contains the usual sounds of these sixteen wonderful instruments, but alsosome very rare playing techniques that you will not find anywhere else, such as multiphonic, aeolian,hit-on-body, buzz, crushed and more. The presets are carefully programmed with expressive key-switches and other cross fading techniques and can be loaded and played instantaneously in yourMac/Win system thanks to the supplied UVI Workstation.

Take a listen!We could describe these sounds all day, but itʼs better to give an ear (www.ultimatesoundbank.com) tothe audio demos for yourself and hear why we believe this collection is so unique.

If youʼre looking for your first high quality solo instrument library or want to enhance your existinglibrary, the IRCAM Solo Instruments collection is a great choice that provides high quality core soundsas well as unique musical samples found in no other library.

The concept

The IRCAM Solo Instruments collection is the result of more than ten years of research, recording,editing & publishing. Started in 1996, this huge project involved the very best musicians, artisticdirectors, and engineers. The instruments were recorded using Prism converters with several high-endand customized microphones. After intense experimentation, the decision was made to use thesounds obtained via the close-proximity mono channel; because this is the most natural way to workwith solo instruments, especially if you want to add external reverberation (like the superb soundingconvolution reverb from the UVI Workstation). Sounds are stored in the 24 bits / 44.1 kHz format.

The IRCAM Solo Instruments collection offers traditional and very musical samples, but also includessome rare and unique features. The stringed instruments (violin, viola, cello and double bass), wererecorded string by string, so you can choose the string you want for the note you want through keyswitching presets. In addition, the collection also includes some rare to find transitions from differentplaying techniques such as Sul tasto to Ordinario and Ordinario to Sul ponticello to name a few.


5

The players

Don't forget that the most important actors of this kind of project are the players, especially for soloinstruments, where musical experience and playing techniques are essential. IRCAM did collaboratewith the very best musicians to achieve an exceptional and musical result. Each instrument andsample has a natural human sound.

We are proud to introduce these 16 inspired musicians to you:

Hae-Sun Kang – ViolinSoloist for the Ensemble InterContemporain since 1994, concertmaster of the Orchestre de Paris, andwinner of several international competitions, Hae-Sun Kang is a professor at the ConservatoireNational Supérieur de Musique de Paris.

Pascal Robault - ViolaViolinist and violist, Pascal Robault won several international prices like the Evian International StringQuartet Competition. He has participated in numerous concerts, exploring the most vast and variedforms of the chamber and contemporary music repertoires, performing with groups such as theEnsemble InterContemporain, Alternance, and Court-circuit.

Antoine Ladrette - Cello- Instrument Played: Caussin, France, end of XIX century.A former student of André Navarra and Bernard Michelin at the Conservatoire de Paris, AndréLadrette developed a taste for early music, driving him to participate in groups such as Les ArtsFlorissants, La Chappelle Royale, La Grande Ecurie et la Chambre du Roy, Les Musiciens du Louvre,the London Fortepiano Trio, and, for fifteen years, the Stradivaria Ensemble directed by Daniel Cuiller.

Didier Meu - Contrabass- Instrument Played: 3/4, Germany, end of XIX centuryMember of the ensembles Court-circuit, Sillage, and Fa, he also performs on a regular basis with ArsNova, the Ensemble InterContemporain, the Ensemble Modern, and the Ensemble Recherche. DidierMeu works in close collaboration with Ircam. He also created the Acrobass association, a groupdevoted to promoting instruments with a bass range and is also involved in projects where jazz andcontemporary music intersect.

Jens McManama - French HornBorn in Portland, Oregon, Jens McManama performed his first solo concert at the age of thirteen withthe Seattle Orchestra. After studying in Cleveland with Myron Bloom, he became the horn soloist at LaScala in Milan under the direction of Claudio Abbado. As a soloist for the EnsembleInterContemporain since 1979, Jens McManama performed in numbers of pieces like the premiere ofKarlheinz Stockhausen's In Freundschaft arranged for horn in Baden-Baden in 1988.

Laurent Bomont - TrumpetAdmitted to the Conservatoire national supérieur de musique de Paris in 1989, he won first prize inchamber music in 1991, followed by a first prize in trumpet performance the next year. Then he wasinvited to perform on a regular basis as a soloist at various festivals, and with prominent orchestrasand groups. He has performed under the direction of Christoph von Dohnany, Sir Simon Rattle, SirGeorg Solti, James Conlon, Peter Eotvös, David Robertson... as well as Pierre Boulez.


6

Benny Sluchin - TromboneBenny Sluchin studied music at the Conservatory of Tel Aviv, his hometown, and at the Academy ofMusic in Jerusalem. Sluchin played with the Israel Philharmonic Orchestra for two years beforebecoming a co-soloist in the Jerusalem Symphony Orchestra (Radio Orchestra) where he remainedfor four years. Since 1976, he has been a member of the Ensemble InterContemporain, performingthe contemporary repertoire. Benny Sluchin also gives conferences all over the world.

Gerard Buquet - Bass Tuba- Instrument played: Bass Tuba in F with 6 valves, Germany, manufactered by Fabien LevyGerard Buquet has given numerous premieres and has been an invited soloist at many of the majorcontemporary music festivals. He has played with the Orchestre de Paris, the Orchestre National deFrance, and the Orchestre Philharmonique de Radio France, as well as in various jazz combos. From1976 to 2001, Buquet was the tuba player for the Ensemble InterContemporain.

Claude Delangle - Alto Saxophone- Instrument played: SELMER Série2 n°434775 plated goldConcert artist, researcher and teacher, Claude Delangle has expanded the contemporary repertoireby working with the greatest composers of our time and by promoting recordings of their work onlabels such as BIS, Deutsche Grammophon, Harmonia Mundi, Erato and Vérany. he has worked withPierre Boulez, D. Robertson, P. Eötvös, K. Nagano, E.P. Salonel, and M.W. Chung. Delangleʼsresearch on saxophone acoustics has resulted in a collaboration with Henri-Selmer-Paris in thecreation of their prototypes.

Catherine Bowie - Flute in CCatherine Bowie began her musical studies in her native New Zealand. Winner of the YoungMusicians Competition, she entered the Conservatoire national supérieur de Paris, where she studiedwith Michel Debost and Pierre-Yves Artaud. A member of Ensemble Court-circuit from 1991 to 2002,she currently lives in New Zealand and plays with the Auckland Philharmonia.

Helene De Villeneuve - OboeIn October 1994, she was the winner of the fourth Tokyo International Oboe Contest. From 1992 to1995 Hélène Devilleneuve played solo oboe for the Flanders Royal Philharmonic Orchestra. She thenwent on to become the first oboe super-soloist for the Orchestre philharmonique de Radio France in1995. In the latter domain, she is a part of the ensemble Court-circuit and is regularly invited to playwith the Ictus ensemble (Brussels), the Fa ensemble (Dominique My), and more.

Pierre Dutrieu - Clarinet- Instrument played: Buffet-Crampon Prestige 1996 using Fineber systemHis interest in the contemporary repertoire has led him to premiere numerous concert worksworldwide. As a soloist, Dutrieu has performed some of the most difficult pieces found in thecontemporary repertoire such as the famous Dialogue de lʼombre double by Pierre Boulez. PierreDutrieu is a permanent member of the groups Court-circuit, S.I.C. and Sillages, and is regularly invitedby other groups, such as the Ensemble InterContemporain.

Laurent Le Chenadec - BassonFirst place bassoonist at the Conservatoire national supérieur de musique de Paris, Laurent LeChenadec has played the modern bassoon with the Paris-Bastille octet, the EnsembleInterContemporain under the direction of Pierre Boulez, and the group Court-circuit.

Tania Chagnot - Guitar- Instrument played : Daniel Friederich n°627Winner of numerous international competitions, Tania Chagnot has given concerts all over the world,and has participated in radio and television programs in Europe and in the United States. AlthoughTania feels her vocation is to spread knowledge of contemporary music, especially through premieringnew works, her repertoire extends from early music to today's music.


7

Virginie Tarrete - HarpAfter having completed her studies at the Conservatoire national supérieur de musique de Paris,where she took first place in both harp performance and chamber music, she continued her studieswith Ursula Holliger at the Staatliche Hochschule für Musik in Freiburg. Soloist in the ensemblel'Itinéraire, a large part of Virginie Tarrête's performance activity is dedicated to contemporary music,which has led to numerous collaborations with composers like Mark André Dalbavie, Klaus Huber,Helmut Lachenmann...

Pascal Contet - Accordion- Instrument played: ZEROSETTE number B32C64T58 Levy specialVirtuoso with an impressive reputation, festival director, accordion collector, and lecturer, PascalContet isnʼt afraid to take risks in order to make his instrument vibrate. He has improvised with JoëlleLéandre, Andy Emler, Jean-Pierre Drouet. In addition, has collaborated with Pierre Boulez.


8

About IRCAM

In 1969 Georges Pompidou initiated the establishment of the Institut de Recherche et CoordinationAcoustique/Musique (Institute for music/acoustic research and coordination) entrusting its direction tothe composer and conductor Pierre Boulez. IRCAM became, and remains today, the only center of itskind across the globe, dedicated to contemporary musical research and production and linked to theCentre Pompidou.

Initially the project of one man, Pierre Boulez, composer, conductor and author of several works, theproject to create IRCAM incarnated the utopian aspirations and aesthetic conceptions of its founder.His objective was to bring science and art together in order to widen instrumentarium and rejuvenatemusical language. In the late 1970ʼs IRCAM offered the most advanced reflection into computer musicin the world.

With the arrival of Laurent Bayle in 1992, the institution opened its doors to new artistic forms andworked at attracting a larger public, notably via the establishment of the Agora festival. In addition,anticipating the importance of the Internet the Forum went online enabling IRCAMʼs “know-how” to beaccessed across the entire globe.

In 2002, the philosopher Bernard Stiegler took over IRCAMʼs direction, reaffirming the primaryvocation of the institute: the coordination between research and creation. Seeking to renew relationsbetween art and science, IRCAMʼs project has both feet firmly based in contemporary questions suchas the links between cultural industries and creation.

Strongly supported by the presence of composers and artists invited to dialogue with the scientificteams, IRCAM contributes to debates incited by current issues, whether theoretical, musical,aesthetical or political.

Research & Development

IRCAM provides a unique framework to welcome and coordinate various scientific ways ofapproaching music, including physics (acoustics, mechanics), signal processing, computer science,cognitive psychology and musicology. Activities are structured according to specific themes, entrustedto specialized teams. Each team assumes responsibility for all the work carried out within its domain:research, software development, contracts, collaborative projects, and diffusion.

The personnel working within IRCAMʼs Department of Research and Development (90 researchers,engineers, post-graduates, technicians and administration staff) under the direction of Hugues Vinet.


9

INSTRUMENTS LIST

FLUTE (in C)

OBOEOBOE WITH MUTE

CLARINET (in Bb)

BASSOONBASSOON WITH MUTE

ALTO SAXOPHONE (in Eb)

FRENCH HORNFRENCH HORN WITH MUTE

TRUMPET (in C)TRUMPET in C with CUP MUTETRUMPET in C with HARMON MUTETRUMPET in C with STRAIGHT MUTETRUMPET in C with WAWA MUTE

TROMBONE (Tenor/bass)TROMBONE with CUP MUTETROMBONE with HARMON MUTETROMBONE with STRAIGHT MUTETROMBONE with WAWA MUTE

BASS TUBA (in F)BASS TUBA WITH MUTE

ACCORDION

GUITAR

HARP

VIOLINVIOLIN WITH MUTEVIOLIN WITH LEAD MUTE

VIOLAVIOLA WITH MUTEVIOLA WITH LEAD MUTE

VIOLONCELLOVIOLONCELLO WITH MUTEVIOLONCELLO WITH LEAD MUTE

CONTRABASSCONTRABASS WITH MUTE


10

WOODWINDSDetail of available playing techniques for each woodwind instrument

The ranges are given in international format : middle C = C4All musical notations are in sounding pitches (untransposed)

FLUTE in CInstrumentist : Catherine Bowie - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.

Instrument part to be written at actual pitch

Ranges in sounding pitches : (B3 with special extension) C4 – C7 (+)

aeolianaeolian-and-ordinarioaeolian-to-ordinariochromatic-scalecrescendocrescendo-to-decrescendodecrescendodiscolored-fingeringflatterzungeflatterzunge-to-ordinarioharmonic-fingeringjet-whistlekey-clicknote-durationsordinarioordinario-1qordinario-to-aeolianordinario-to-flatterzungepizzicatoplay-and-singplay-and-sing-unisonsforzandostaccatotongue-ramtrill-major-second-uptrill-minor-second-upwhistle-toneswhistle-tones-sweeping


11

OBOEInstrumentist : Hélène Devilleneuve - Artistic director : Joshua Fineberg - Sound engieeners : François Eckert, Antoine Mercier.

Instrument part to be written at actual pitchRange in sounding pitches : Bb3 – G6 (+)

blow-without-reedchromatic-scalecrescendocrescendo-to-decrescendodecrescendodiscolored-fingeringdouble-trill-major-second-updouble-trill-minor-second-upflatterzungeharmonic-fingeringkey-clickkisslip-glissandomultiphonicsnote-durationsordinarioordinario-1qsforzandostaccatotrill-major-second-uptrill-minor-second-upvibrato

OBOE CON SORDINAordinario


12

CLARINET in Bb

Instrumentist : Pierre Dutrieu - Instrument : Buffet-Crampon Prestige 1996 (Boehm system) - Artistic direction: Joshua Fineberg- Sound engineers: François Eckert, Antoine Mercier.

Instrument part to be written a major second higher

Range in sounding pitches : D3-F6 (+)

aeolian-and-ordinariocrescendocrescendo-to-decrescendodecrescendoflatterzungeflatterzunge-high-registerglissandokey-clickmultiphonicsnote-durationsordinarioordinario-1qordinario-high-registersforzandostaccatotrill-major-second-uptrill-minor-second-up


13

BASSOONInstrumentist : Laurent Le Chenadec - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.

Instrument part to be written at actual pitchRange in sounding pitches : Bb1-Eb5 (+)

blow-without-reedchromatic-scalecrescendocrescendo-to-decrescendodecrescendoflatterzungeglissando-with-throatharmonic-fingeringkey-clickmultiphonicsnote-durationsordinarioordinario-1qsforzandostaccatotrill-major-second-uptrill-minor-second-upvibrato

BASSON CON SORDINAordinario


14

BRASSDetail of available playing techniques for each brass instrument


TRUMPET in CInstrumentist : Laurent Bomont - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.

Instrument part to be written at actual pitchRange in sounding pitches : F#3-Bb5 (+)

crescendocrescendo-to-decrescendocuivrécuivré-to-ordinariodecrescendoflatterzungeflatterzunge-to-ordinarioglissando-embouchurehalf-valve-glissandoharmonics-glissandoincreasing-intervals-legatonote-durationsordinarioordinario-to-cuivréordinario-to-flatterzungepedal-tonesforzandoslap-pitchedstaccatotrill-major-second-uptrill-minor-second-upvocalize-on-harmonics

C TRUMPET CUP MUTEflatterzungeordinario

C TRUMPET HARMON MUTEflatterzungeordinario

C TRUMPET STRAIGHT MUTEflatterzungeordinario

C TRUMPET WAWA MUTEclosed-to-openflatterzunge-openopen-to-closedordinario-closedordinario-open


15

ALTO SAXOPHONE in Eb

Instrumentist: Claude Delangle - Instrument: SELMER Serie 2 n°434775 gold plated (with high register key, MouthpieceVandoren strenght 3,5 - Artistic direction: Fabien Levy - Sound engineers: Vérène Valat - Editing : Cécile Lenoir, Gérard Delia.

Instrument part to be written a major sixth higherRange in sounding pitches : (-) Db3-A5 (+)

aeolianbackwardsbisbigliandoblow-without-reedchromatic-scalecrescendocrescendo-to-decrescendodecrescendodiscolored-fingeringdouble-tonguingexploding-slap-pitchedflatterzungeflatterzunge-to-ordinarioglissandoharmonic-fingeringharmonics-glissandokey-clickkissmove-bell-from-down-to-upmove-bell-from-left-to-rightmultiphonicsordinarioordinario-1qordinario-high-registerordinario-to-flatterzungeplay-and-sing-glissandoplay-and-sing-m2-upplay-and-sing-unisonsforzandoslap-pitchedslap-unpitchedstaccatotrill-major-second-uptrill-minor-second-up


16

FRENCH HORN in FInstrumentist : Jens McManama - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.

Instrument part to be written a perfect fifth higher

Range in sounding pitches : (-) B1-F4 (+)

chromatic-scalecrescendocrescendo-to-decrescendocuivrécuivré-to-ordinariodecrescendoflatterzungeflatterzunge-stoppedflatterzunge-to-ordinarionote-durationsopen-to-stoppedordinarioordinario-to-cuivréordinario-to-flatterzungesforzandoslap-pitchedstaccatostoppedstopped-to-opentrill-major-second-uptrill-minor-second-up

FRENCH HORN CON SORDINAflatterzungeordinario


17

TROMBONE (tenor-bass)Instrumentist : Benny Sluchin - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.


Range in sounding pitches : (-) E2-D5 (+)

chromatic-scalecrescendocrescendo-to-decrescendocuivrécuivré-to-ordinariodecrescendoflatterzungeflatterzunge-no-mouthpieceflatterzunge-to-ordinarioglissandonote-durationsordinarioordinario-no-mouthpieceordinario-to-cuivréordinario-to-flatterzungepedal-tonesforzandoslap-pitchedstaccato

TROMBONE SORD CUPflatterzungeordinario

TROMBONE SORD HARMONflatterzungeordinario

TROMBONE SORD STRAIGHTflatterzungeordinario

TROMBONE SORD WAWAclosed-to-openflatterzunge-closedflatterzunge-openopen-to-closedordinario-closedordinario-open


18

BASS TUBAInstrumentist : Gérard Buquet - Instrument : Bass Tuba in F with six valves, German - Artistic direction: Fabien Levy - Soundengineers: Vérène Valat - Editing : Cécile Lenoir, Gérard Delia.

instrument part to be written at actual pitch

range in sounding pitches : (-) F1-C4 (+)

bisbigliandoblowbreathbuzzchromatic-scalecrescendocrescendo-to-decrescendocuivrédecrescendodiscolored-fingeringdiscolored-fingering-1qexploding-slap-pitchedexploding-slap-unpitchedfiltered-by-voiceflatterzungeflatterzunge-and-voice-unisonflatterzunge-to-ordinarioglissandogrowlinhaledkissmultiphonicsordinarioordinario-1qordinario-high-registerordinario-to-flatterzungepedal-tonepercussion-embouchureplay-and-sing-aug4-upplay-and-sing-glissandoplay-and-sing-m2-upplay-and-sing-M7-upplay-and-sing-P5-upplay-and-sing-unisonsforzandosingle-tonguingslap-pitchedslap-unpitchedspeak-into-instrumentstaccatotrill-major-second-uptrill-minor-second-up

BASS TUBA SORDINAordinario


19

FREE REEDAvailable playing techniques


ACCORDIONInstrumentist : Pascal Contet - Instrument : ZEROSETTE number B32C64T58 IND n°1 special - Artistic direction: Fabien Levy- Sound engineers: Vérène Valat - Editing : Cécile Lenoir, Gérard Delia.


range in sounding pitches : E1-A7 (C8)

backwardsbellowshakebreathcrescendocrescendo-to-decrescendodecrescendodifference-toneskey-clicksforzandostaccatotap-on-body


20

PLUCKED STRINGSAvailable playing techniques


GUITARInstrumentist : Tania Chagnot - Instrument : Daniel Friederich n°627. - Artistic direction: Fabien Levy - Sound engineers:Vérène Valat - Editing : Cécile Lenoir, Gérard Delia.

Instrument part to be written an octave higher

Range in sounding pitches : E2-E5 (+)

behind-the-frogbell-effectbottleneckchromatic-scalededillodrum-effectglissandoharmonic-fingeringordinariopizzicatopizzicato-bartokrasguadoscratch-with-nailslidesul-ponticellosul-tastotap-on-bodytap-with-stick


21

HARPInstrumentist : Virginie Tarrete

Instrument part to be written at actual pitchRange in sounding pitches : C1-G#7

bisbigliandobisbigliando-with-stickbuzzing-pedalclustersclusters-with-naildampeddouble-glissandoglissandoglissando-fluido-with-stickglissando-near-the-boardglissando-with-nailglissando-with-pedalglissando-with-stickharmonic-fingeringharmonic-in-woodnear-the-boardnear-the-board-with-nailnear-the-pegsordinariopizzicato-bartokscratch-with-nailtap-on-bodytap-with-sticktremolo-with-fingertipsxylophonic sounds


22

STRINGSDetail of available playing techniques for each string instrument


VIOLINInstrumentist : Hea Sun Kang - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.


range in sounding pitches : G3-G7 (+)

artificial-harmonic (mixed strings and individual strings)artificial-harmonic-tremolo (mixed strings and individual strings)behind-the-bridgebehind-the-fingerboardchromatic-scalecol-legno-battuto (mixed strings and individual strings)col-legno-tratto (mixed strings and individual strings)crescendocrescendo-to-decrescendopressured-to-ordinariodecrescendohit-on-bodynatural-harmonics-glissandinon-vibrato (mixed strings and individual strings)note-durationson-the-tailpieceon-the-tuning-pegsordinario (mixed strings and individual strings)ordinario-to-pressuredordinario-to-sul-ponticelloordinario-to-sul-tastoordinario-to-tremolopizzicato-bartok (mixed strings and individual strings)pizzicato-l-vib (mixed strings and individual strings)pizzicato-secco (mixed strings and individual strings)sforzatostaccatosul-ponticello (mixed strings and individual strings)sul-ponticello-to-ordinariosul-ponticello-to-sul-tastosul-ponticello-tremolosul-tasto (mixed strings and individual strings)sul-tasto-to-ordinariosul-tasto-to-sul-ponticellotremolo (mixed strings and individual strings)tremolo-to-ordinariotrill-major-second-up (mixed strings and individual strings)trill-minor-second-up (mixed strings and individual strings)


23

VIOLIN CON SORDINAnon-vibrato (mixed strings and individual strings)ordinario (mixed strings and individual strings)tremolo (mixed strings and individual strings)

VIOLIN CON SORDINA PIOMBOnon-vibratoordinariotremolo


24

VIOLAInstrumentist : Pascal Robault - Artistic direction: Joshua Fineberg - Sound engineers: François Eckert, Antoine Mercier.


Range in sounding pitches : C3-C6 (+)

artificial-harmonic (mixed strings and individual strings)artificial-harmonic-tremolo (mixed strings and individual strings)behind-the-bridgebehind-the-fingerboardchromatic-scalecol-legno-battuto (mixed strings and individual strings)col-legno-tratto (mixed strings and individual strings)crescendocrescendo-to-decrescendopressured-to-ordinariodecrescendohit-on-bodynatural-harmonics-glissandinon-vibrato (mixed strings and individual strings)note-durationson-the-bridgeon-the-frogon-the-tuning-pegsordinario (mixed strings and individual strings)ordinario-to-pressuredordinario-to-sul-ponticelloordinario-to-sul-tastoordinario-to-tremolopizzicato-bartok (mixed strings and individual strings)pizzicato-l-vib (mixed strings and individual strings)pizzicato-secco (mixed strings and individual strings)sforzatostaccato (mixed strings and individual strings)sul-ponticello (mixed strings and individual strings)sul-ponticello-to-ordinariosul-ponticello-to-sul-tastosul-ponticello-tremolosul-tasto (mixed strings and individual strings)sul-tasto-to-ordinariosul-tasto-to-sul-ponticellosul-tasto-tremolotremolo (mixed strings and individual strings)tremolo-to-ordinariotrill-major-second-up (mixed strings and individual strings)trill-minor-second-up (mixed strings and individual strings)

VIOLA CON SORDINAnon-vibrato (mixed strings and individual strings)ordinario (mixed strings and individual strings)tremolo (mixed strings and individual strings)

VIOLA CON SORDINA PIOMBOnon-vibratoordinario, tremolo


25

VIOLONCELLOInstrumentist : Antoine Ladrette - Instrument : Caussin, France, end of XIX - Artistic direction: Joshua Fineberg, Soundengineers: François Eckert, Antoine Mercier.

instrument part to be written at actual pitchrange in sounding pitches : C2-A5 (++)

artificial-harmonic (mixed strings and individual strings)artificial-harmonic-tremolo (mixed strings and individual strings)behind-the-bridgechromatic-scalecol-legno-battuto (mixed strings and individual strings)col-legno-tratto (mixed strings and individual strings)crescendocrescendo-to-decrescendopressured-to-ordinariodecrescendohit-on-bodynatural-harmonics-glissandinon-vibrato (mixed strings and individual strings)note-durationson-the-bridgeon-the-frogon-the-tailpieceon-the-tuning-pegsordinario (mixed strings and individual strings)ordinario-to-pressuredordinario-to-sul-ponticelloordinario-to-sul-tastoordinario-to-tremolopizzicato-bartok (mixed strings and individual strings)pizzicato-l-vib (mixed strings and individual strings)pizzicato-secco (mixed strings and individual strings)sforzatostaccatosul-ponticello (mixed strings and individual strings)sul-ponticello-to-ordinariosul-ponticello-to-sul-tastosul-ponticello-tremolosul-tasto (mixed strings and individual strings)sul-tasto-to-ordinariosul-tasto-to-sul-ponticellosul-tasto-tremolotremolo (mixed strings and individual strings)tremolo-to-ordinariotrill-major-second-up (mixed strings and individual strings)trill-minor-second-up (mixed strings and individual strings)

VIOLONCELLO CON SORDINAnon-vibrato (mixed strings and individual strings)ordinario (mixed strings and individual strings)tremolo

VIOLONCELLO CON SORDINA PIOMBOnon-vibratoordinario, tremolo


26

CONTRABASSInstrumentist : Didier Meu - Instrument : 3/4, Germany, end of XIX - Artistic direction: Joshua Fineberg - Sound engineers:François Eckert, Antoine Mercier.

instrument part to be written an octave higher

range in sounding pitches : (C1 with five strings) E1-G4 (++)

artificial-harmonic (mixed strings and individual strings)artificial-harmonic-tremolo (mixed strings and individual strings)behind-the-bridgechromatic-scalecol-legno-battuto (mixed strings and individual strings)col-legno-tratto (mixed strings and individual strings)crescendocrescendo-to-decrescendopressured-to-ordinariodecrescendohit-on-bodynatural-harmonics-glissandinon-vibratonote-durationson-the-bridgeon-the-tailpieceon-the-tuning-pegsordinario (mixed strings and individual strings)ordinario-to-pressuredordinario-to-sul-ponticelloordinario-to-sul-tastoordinario-to-tremolopizzicato-bartok (mixed strings and individual strings)pizzicato-l-vib (mixed strings and individual strings)pizzicato-secco (mixed strings and individual strings)sforzatostaccatosul-ponticello (mixed strings and individual strings)sul-ponticello-to-ordinariosul-ponticello-to-sul-tastosul-ponticello-tremolosul-tasto (mixed strings and individual strings)sul-tasto-to-ordinariosul-tasto-to-sul-ponticellosul-tasto-tremolotremolo (mixed strings and individual strings)tremolo-to-ordinariotrill-major-second-up (mixed strings and individual strings)trill-minor-second-up (mixed strings and individual strings)

CONTRABASS CON SORDINAnon-vibrato (mixed strings and individual strings)ordinario (mixed strings and individual strings)tremolo (mixed strings and individual strings)


27

Playing techniques and suggested notation

GENERAL playing techniques

OrdinarioNormal playing on instrument with three dynamic layers (except in some particular cases)Note that the “ordinario” instruments in this collection are almost without vibrato. This is the normal performancepractice in contemporary music.

Ordinario-1qQuarter tone notes to complete the “ordinario” instrument

SforzandoWrite “sfz” below the emphasized notes.

Staccato

Trill-major-second-upUse small note in parenthesis to show the note to trill to.

Trill-minor-second-upUse small note in parenthesis to show the note to trill to.

VibratoWrite vib. Above the notes. Additional indications can include poco, molto and/or a wavy line to indicate theamplitude of the vibrato.

Notes

For all special playing techniques, it is common to indicate “ord.” when returning to normal playing. A bracket canalso be used to affect an entire passage without writing “ord.”.

For all progressive techniques (technique 1 – to – technique 2), use an arrow in between the text indications.


28

WOODWINDS playing techniques

AeolianSounds produced by taking away the tone partially or totally to leave only the sound of the air.

Aeolian-and-ordinario

Aeolian-to-ordinario

Blow-without-reed

Double-trill-major-second-upDouble-trill-minor-second-upTrills produced by alternating two different fingerings for the same trill. The result is twice as fast.

FlatterzungePlaying technique achieved by rolling the tongue or the throat along with the stream of air.

Flatterzunge-to-ordinario

Glissando-with-throatOn the bassoon, glissando technique to bend the tone a semitone higher or lower. Available in 2 directions (up,down) and 3 different speeds (slow, medium, fast).

Harmonic-fingeringTone having as origin a fundamental note which is not produced by itʼs real fingering.

Jet-whistleFast and forced ascending harmonics glissando. It is possible to indicate on which fundamental pitch the jet isexecuted with a small note.


29

Key-clickPercussive playing technique achieved by hitting one or more keys forcefully. Can be used as a complement ofnormal sound or like an independent technique. Generally effective only on the lower octave plus a fifth (12th) ofthe instruments.

Kiss – smacking soundPlaying technique available only on double reed instruments (oboe, bassoon, saxophone)

Lip-glissandoOn the oboe, glissando technique for bending the tone a semitone higher or lower. Available in 2 directions (up,down) and 3 different speeds (slow, medium, fast).

MultiphonicsComplex sounds, chords, achieved with special fingerings and various embouchure positions.

Ordinario-to-aeolian

Ordinario-to-flatterzunge

Pizzicato – slapPercussive playing technique achieved by the slamming of the tongue against the palate to create a strong “t”.Pitch can be perceived according to the position of the embouchure.

Play-and-singPlay-and-sing-unisonThe voice can be used simultaneously with the normal instrumental playing. According to the complexity of thewriting, the voice is sometimes notated on a different stave. In all cases, use rectangular shaped note-heads forthe voice.

Tongue-ramPercussive playing technique achieved by a fast sinking in (ram) of the tongue in the embouchure. A briefvibration is produced in the air column resulting in a pitch sounding about a seventh (major or minor according tofingerings) under the pitch of the fingering. Notate the intended pitch in a black square shaped note-head.


30

Whistle-tonesOn the flutes, harmonics produced by blowing a very small amount of air into the flute. Only possible in very softdynamic levels (from pppp to p). Use of a specific fundamental pitch to be notated in diamond shaped note.

Example of whistle tone pitches for a C4 fundamental

Whistle-tones-sweepingOn the flutes, whistle-tones sweeping, freely permuted. Use a freely draw line to suggest sweeping shape.Available in two different speeds, slow and fast.


31

BRASS playing techniques

AeolianAvailable only for saxophone. See definition in woodwinds.

BackwardsInhaled sounds, giving the impression of a backwards playing tape.

BisbigliandoSounds obtained by alternating two ore more different fingerings producing the same pitch.

Cuivré“Brassy”, forced sounds. Write “cuivré” above note or passage. Write “ord.” to return to normal playing.

Cuivré-to-ordinario

BuzzSound of embouchure by itself. It is the sounds that enter the tube of brass instruments putting the air column invibration.

Closed-to-openFor the wawa mute. Gradual opening of the tube with the hand.

Discolored-fingering - _ valveDiscolored-fingering-1q – _ valve -1qAvailable only in valve instruments. Playing with the valve(s) being pressed half way resulting in a weaker,somewhat unfocused pitch.

Exploding-slap-pitchedPercussive playing technique achieved by the slamming of the tongue against the palate to create a strong “t”.Equivalent of Pizzicato.

Exploding-slap-unpitched


32

FlatterzungePlaying technique achieved by rolling the tongue or the throat along with the stream of air.

Flatterzunge-and-voice-unison

Flatterzunge-closedFlatterzungue playing with the mute closed (closed tube of the wawa mute)

Flatterzunge-no-mouthpiece

Flatterzunge-openFlatterzungue playing with the mute unclosed (open tube of the wawa mute or open position for the horn)

Flatterzunge-stoppedOn the horn, flatterzungue playing with the bell stopped by the fist.

Flatterzunge-to-ordinario

GrowlLow pitched throat flatterzungue. Notate like regular flatt. But use the indication “Growl”.

Half-valve-glissando

Harmonic-fingeringAvailable only for saxophone. See definition in woodwinds.

Inhaled

Key-clickAvailable only for saxophone. See definition in woodwinds.

Kiss – smacking soundSee definition in woodwinds.


33

Move-bell-from-down-to-upMove-bell-from-left-to-rightAvailable only for the saxophone

Open-to-closed

Open-to-stoppedOn the horn, progressive closing of the bell with the fist.

Ordinario-closedNormal playing with wawa mute tube closed by the hand.

Ordinario-openNormal playing with wawa mute tube open.

Ordinario-to-cuivré

Ordinario-to-flatterzunge

Pedal-toneFundamental tone on which rest the harmonic series available by the use of valves. They have to be used withcare since they are difficult to produce and cannot be played in loud dynamics.

Percussion-embouchureSlap effect obtained by slamming the embouchure with the palm of the hand.

Play-and-sing-aug4-upPlay-and-sing-glissandoPlay-and-sing-m2-upPlay-and-sing-m7-upPlay-and-sing-p5-upPlay-and-sing-unisonSee in woodwinds for voice notation


34

Slap-pitchedPercussive playing technique achieved by the slapping of the tongue in the embouchure.

Slap-unpitched

Percussive playing technique achieved by the slapping of the tongue in the embouchure.

Speak-into-instrumentSounds produced when the instrumentist speaks while playing.

StoppedOn the horn, sounds with the bell blocked by the fist. The result is a characteristic metallic sound.

Stopped-to-openOn the horn, gradual opening of the bell by the fist.


35

PLUCKED STRINGS playing techniques

GUITAR special playing techniques

Behind-the-frogProduced by playing the strings behind the frog

Bell-effect

BottleneckPolished metal or glass tube which fits on to the left hand index or little finger and which has the same width thanthe neck of the guitar. Allows free sliding between pitches.

DedilloTremolo like effect which can be rhythmically measured.

Drum-effectPercussive sound imitating the snare drum obtained by crossing the 5th and 6th strings at the level of fret V or VI.

GlissandoEffective when played fast before the sound is lost.

Harmonic-fingeringRegular natural or artificial harmonic sounds.

PizzicatoProduced by muting the resonance of the string with the right hand palm placed half on the bridge and half on thestrings.

Pizzicato-bartokProduced by pulling the string upwards and allowing it to snap sharply against the fingerboard.

RasgueadoRhythmic strumming right hand patterns in which the strings are not plucked but hammered with one ore morefingers. This technique is most often associated with flamenco.

Scratch-with-nailProduced by scratching the string with the nail along itʼs length.

SlidePortamento effect obtained by sliding the finger from one fret to another or by slurring to the second note withoutreattack.

Sul-ponticelloPlayed near the bridge.

Sul-tastoPlayed near or above the fingerboard.

Tap-on-bodyPercussive effects resulting from tapping on different areas of the body of the instrument. The resulting pitchesare indefinite.

Tap-with-stickPercussive effect resulting from tapping on the strings with a stick.


36

HARP special playing techniques

BisbigliandoProduced by rapidly alternating to pitches (equal or not) on two different strings using one or two fingers fromeach hand. The samples in this collection alternate two equal pitches tuned on two enharmonically tuned strings.Current notation practice uses the small note in parenthesis to indicate the second note. Above the note orpassage, use the indication “bisb.” along with the trill like wavy line.

Bisbigliando-with-stickProduced by rapidly alternating a metal stick between two strings. The samples in this collection alternate twostings tuned enharmonically on equal pitches.

Buzzing-pedalBuzzing sounds achieved by holding the pedal(s) halfway between two notches while playing the string(s).Possible only on the metal strings (that is, up to G1).

ClustersA collection of clusters on three areas (high-medium-low) of the range and on three dynamic levels.

Clusters-with-nails

DampedThe sound is muffled right after the note by putting firmly the flat of the hand upon the strings in order to alsodamp sympathetic resonance.

Glissando-fluido-with-stickProduced by sliding a stick along the string length to alter the sounding pitch.

Glissando-near-the-boardSee near the board.

Glissando-with-nailUse the “nail” symbol above note or passage

Glissando-with-pedalProduced by changing the position of the pedal in the resonance of the tone.

Glissando-with-stickProduced by sliding a stick along the string length to do a glissando from the sounding pitch.

Harmonic-fingering


37

Harmonic-in-wood (Xylharmonic sound)

Near-the-boardProduced by playing near the lowest extremity of the string, close to the board of the instrument. Write “near theboard” above note or passage. Known as “près de la table”.

Near-the-board-with-nailProduced by playing with the nail near the lowest extremity of the string, close to the board of the instrument. Theresulting sound is close to a plectrum sound.

Near-the-pegsProduced by playing near the highest extremity of the string, near the pegs.

Pizzicato-bartokProduced by letting the articulated part of the finger hit the body of the instrument right after striking the note.

Scratch-with-nailThe string is scratched on its length by the nail.

Tap-on-bodyPercussive effect produced by hitting the body of the instrument.

Tap-with-stickPercussive effect produced by hitting the body of the instrument with a stick.

Tremolo-with-fingertipsProduced by gently hitting the strings with the fingertips, almost like playing on keys.

Xylophonic soundsPercussive like sounds produced by firmly pressing the fingertips of the left hand on the lowest extremity of thestrings (diamond shaped notation) while the right hand plays in the centre of the same strings. The role of eachhand can be inverted according to requirements. Use diamond shaped note-heads to indicate the strings to bedamped, or simply write “xyl” above note or passage.


38

STRINGS playing techniques

Artificial-harmonicIn order to produce as harmonics notes that are not overtones of the open strings, the string is pressed down bythe first finger on a note which will be the fundamental and the fourth finger touches the string lightly at a point aperfect fourth higher which is equivalent to dividing the unstopped portion of the string into quarters, resulting in aharmonic two octaves above the fundamental pitch. This corresponds to the fourth partial produced on an openstring. The resulting sound can also be notated in small note and in parenthesis to avoid confusion since artificialharmonics at the third and fifth also exist.

Artificial-harmonic-tremolo

Behind-the-bridgeProduced by drawing the bow behind the bridge. The sounds are of indeterminate pitch but may vary in pitchaccording to the string.

Behind-the-fingerboardProduced by drawing the bow across the back of the fingerboard. The sounds is of indeterminate pitch.

Col-legno-battutoProduced by striking the string with the wood of the neck. Write “ord.” to return to normal playing mode.

Col-legno-trattoProduced by drawing the wood part of the bow across the string. Write “ord.” to return to normal playing mode.

Pressured-to-ordinarioProduced by excessive bow pressure and then a gradual release of this pressure. A notation symbol can be usedto indicate pressured sound instead of text for separate notes.


39

Hit-on-body

Natural-harmonics-glissandiAvailable in 3 different speeds (slow, medium, fast) and 2 directions (up, down).Natural harmonics are simply overtones (or partials) of the open strings. They are produced by lightly touching thestring at the right point.

Resulting natural harmonic pitches for string instruments.

Non-vibrato – Senza vibratowrite “ non vib”or “ senza vib.”.

On-the-bridgeProduced by playing “on” the bridge (as distinguished from near it “sul ponticello”).

On-the-tailpieceProduced by playing on the tailpiece. On the cello and contrabass, this results in a low groaning noise.Behind the tailpiece produces a very shrill and penetrating tone.

On-the-tuning-pegsProduced by playing on the tuning pegs.


40

Ordinario-to-pressuredSee pressured-to-ordinario.

Ordinario-to-sul-ponticello

Ordinario-to-sul-tasto

Ordinario-to-tremolo

Pizzicato-bartokProduced by pulling the string upwards and allowing it to 'snap' sharply against the fingerboard.

Pizzicato-l-vibResonating pizzicato. It is possible to add a “let vibrate” sign after the notes.

Pizzicato-seccoDry pizzicato. It is possible to add dots under the notes for an entire passage.

Sul-ponticelloPlayed near the bridge. Use “Molto pont.” to have a more metallic, “on” the bridge playing.

Sul-ponticello-to-ordinario

Sul-ponticello-to-sul-tasto


41

Sul-ponticello-tremolo

Sul-tastoPlaying above or very close to the fingerboard.

Sul-tasto-to-ordinario

Sul-tasto-to-sul-ponticello

Sul-tasto-tremolo

Tremolo (tremolo)

Tremolo-to-ordinario


42

Appendix A: Presets list

01 Flute

ClassicalFl Dur 0,5sFl Dur 1sFl Dur KSFl FortepianoFl KSFl OrdinarioFl Ordinario XFl SforzandoFl StaccatoFl Trill maj2Fl Trill min2

ExtendedFl AeolianFl Aeolian & ordinarioFl Aeolian & ordinario XFl Discolored fingeringFl FlatterzungeFl Flatterzunge XFl Harmonic fingeringFl Jet whistleFl Key clickFl MultiphonicsFl Ordinario 1qFl PizzicatoFl Play and sing C4Fl Play and sing unisonFl Tongue ramFl Whistle tonesFl Whistle tones sweeping

TransitionsFl Aeolian to ordinarioFl Chromatic ScalesFl CrescendoFl Crescendo to decrescendoFl DecrescendoFl Flatterzunge to ordinarioFl Ordinario to aeolian

Fl Ordinario to flatterzunge


43

02 Oboe

ClassicalOb Dur 0,5sOb Dur 1sOb Dur KSOb FortepianoOb KSOb OrdinarioOb Ordinario XOb SforzandoOb StaccatoOb Trill maj2Ob Trill min2Ob Vibrato

ExtendedOb Blow without reedOb Dbl trill maj2 upOb Dbl trill min2 upOb Discolored fingeringOb FlatterzungeOb Harmonic fingeringOb Key clickOb KissOb Lip glissando

Ob Gliss asc fastOb Gliss asc modOb Gliss asc slwOb Gliss dsc fstOb Gliss dsc modOb Gliss dsc slw

Ob MultiphonicsOb Ordinario 1q

MutedOb Mute Ordinario

TransitionsOb Chromatic scaleOb CrescendoOb Crescendo to decrescendo

Ob Decrescendo


44

03 Clarinet in Bb

Classical

Clar Dur 0,5s

Clar Dur 1s

Clar Dur KS

Clar Fortepiano

Clar KS

Clar Ordinario

Clar Ordinario X

Clar Sforzando

Clar Staccato

Clar Trill maj2

Clar Trill min2

Extended

Clar Aeolian & ordinario

Clar Flatterzunge

Clar Flatterzunge X

Clar Glissando

Clar Multiphonics

Clar Ordinario 1q

Clar Slap

Transitions

Clar Crescendo

Clar Crescendo to decrescendo

Clar Decrescendo


45

04 Bassoon

ClassicalBsn Dur 0,5sBsn Dur 1sBsn Dur KSBsn FortepianoBsn KSBsn OrdinarioBsn Ordinario XBsn SforzandoBsn StaccatoBsn Trill maj2Bsn Trill min2Bsn Vibrato

ExtendedBsn Blow without reedBsn FlatterzungeBsn Glissando with throat

Bsn asc fstBsn asc modBsn asc slwBsn dsc fstBsn dsc modBsn dsc slw

Bsn Harmonic fingeringBsn Key clickBsn MultiphonicsBsn Ordinario 1q

MutedBsn Mute OrdinarioTransitionsBsn Chromatic scaleBsn CrescendoBsn Crescendo to decrescendoBsn Decrescendo


46

05 Saxophone Alto in Eb

ClassicalSax Alto FortepianoSax Alto KSSax Alto OrdinarioSax Alto Ordinario XSax Alto StaccatoSax Alto Trill maj2Sax Alto Trill min2

ExtendedSax Alto AeolianSax Alto BackwardsSax Alto BisbigliandoSax Alto Blow without reedSax Alto Discolored fingeringSax Alto Double tonguingSax Alto Exploding slap pitchedSax Alto FlatterzungeSax Alto GlissandoSax Alto Harmonic fingeringSax Alto Key clickSax Alto Move bell down to upSax Alto Move bell left to rightSax Alto Ordinario 1qSax Alto Play & sing glissandoSax Alto Play & sing m2 upSax Alto Play & sing unisonSax Alto Slap pitchedSax Alto Slap unpitched

TransitionsSax Alto Chromatic scaleSax Alto CrescendoSax Alto Crescendo to decrescendoSax Alto DecrescendoSax Alto Flatterzunge to ordinarioSax Alto Ordinario to flatterzunge


47

06 French Horn

ClassicalHrn Dur 0,5sHrn Dur 1sHrn Dur KSHrn FortepianoHrn KSHrn OrdinarioHrn Ordinario XHrn SforzandoHrn StaccatoHrn Trill maj2Hrn Trill min2

ExtendedHrn CuivreHrn FlatterzungeHrn Flatterzunge stoppedHrn Flatterzunge XHrn Slap pitchedHrn Stopped

MutedHrn Mute FlatterzungeHrn Mute Ordinario

TransitionsHrn Chromatic scaleHrn CrescendoHrn Crescendo to decrescendoHrn Cuivre to ordinarioHrn DecrescendoHrn Flatterzunge to ordinarioHrn Open to stoppedHrn Ordinario to cuivreHrn Ordinario to flatterzungeHrn Stopped to open


48

07 Trumpet in C

ClassicalTpt Dur 0,5sTpt Dur 1sTpt Dur KSTpt FortepianoTpt KSTpt OrdinarioTpt Ordinario XTpt SforzandoTpt StaccatoTpt Trill maj2Tpt Trill min2

ExtendedTpt CuivreTpt FlatterzungeTpt Flatterzunge XTpt FXTpt Pedal toneTpt Slap pitchedTpt Vocalize on harmonics

MutedTpt Mute Cup

Tpt Cup FlatterzungeTpt Cup Ordinario

Tpt Mute HarmonTpt Harmon FlatterzungeTpt Harmon Ordinario

Tpt Mute StraightTpt Straight FlatterzungeTpt Straight Ordinario

Tpt Mute WawaTpt Wawa Flatterzunge openTpt Wawa Ordinario closedTpt Wawa Ordinario open

Transitions MuteTpt Wawa Closed to openTpt Wawa Open to closed


49

Transitions

Tpt Crescendo

Tpt Crescendo to decrescendo

Tpt Cuivre to ordinario

Tpt Decrescendo

Tpt Flatterzunge to ordinario

Tpt Ordinario to cuivre

Tpt Ordinario to flatterzunge


50

08 Trombone

ClassicalTrb Dur 0,5sTrb Dur 1sTrb Dur KSTrb FortepianoTrb KSTrb Ord+Pedal toneTrb OrdinarioTrb Ordinario XTrb SforzandoTrb Staccato

ExtendedTrb CuivreTrb FlatterzungeTrb Flatterzunge XTrb GlissandoTrb No mouthpieceTrb Pedal toneTrb Slap pitched

Muted

Transitions MuteTrb Wawa Closed to openTrb Wawa Open to closed

Trb Mute CupTrb Cup FlatterzungeTrb Cup Ordinario

Trb Mute HarmonTrb Harmon FlatterzungeTrb Harmon Ordinario

Trb Mute StraightTrb Straight FlatterzungeTrb Straight Ordinario

Trb Mute WawaTrb Wawa Flatterzunge closedTrb Wawa Flatterzunge open

Trb Wawa Ordinario closed

Trb Wawa Ordinario open


51

Transitions

Trb Crescendo

Trb Crescendo to decrescendo

Trb Cuivre to ordinario

Trb Decrescendo

Trb Flatterzunge to ordinario

Trb Ordinario to cuivre

Trb Ordinario to flatterzunge


52

09 Tuba

ClassicalTuba FortepianoTuba KSTuba OrdinarioTuba Ordinario XTuba StaccatoTuba Trill maj2Tuba Trill min2

ExtendedTuba BisbigliandoTuba CuivreTuba Discolored fingeringTuba Discolored fingering 1qTuba Filtered by voiceTuba FlatterzungeTuba Flatterzunge & voice unisonTuba Flatterzunge XTuba FX 1Tuba FX 2Tuba GlissandoTuba Ord+Pedal toneTuba Ordinario 1qTuba Ordinario high registerTuba Pedal toneTuba Play and Sing

Tuba Play and sing aug4 upTuba Play and sing m2 upTuba Play and sing M7 upTuba Play and sing P5 upTuba Play and sing unison

Tuba Single tonguingTuba Slap pitchedTuba Slap unpitched

MutedTuba Mute Ordinario


53

Transitions

Tuba Chromatic Scale

Tuba Crescendo

Tuba Crescendo to decrescendo

Tuba Decrescendo

Tuba Flatterzunge to ordinario

Tuba Ordinario to flatterzunge


54

10 Accordion

ClassicalAcc FortepianoAcc KSAcc OrdinarioAcc Ordinario XAcc Ordinario Registers

Acc Ordinario DBL All KSAcc Ordinario DBL1Acc Ordinario DBL2Acc Ordinario DBL3Acc Ordinario DBL4Acc Ordinario DBL5

Acc Staccato

ExtendedAcc BackwardsAcc Combination of registers

Acc Combi. of regstrAcc Combi. of regstr DBL1

Acc FX

TransitionsAcc CrescendoAcc Crescendo to decrescendoAcc Decrescendo


55

11 Guitar

ClassicalGtr Harmonic fingeringGtr Harmonic fingering by string

Gtr Harmonic fingering KSGtr Harmonic fingering s1Gtr Harmonic fingering s2Gtr Harmonic fingering s3Gtr Harmonic fingering s4Gtr Harmonic fingering s5Gtr Harmonic fingering s6

Gtr OrdinarioGtr Ordinario by string

Gtr Ordinario KSGtr Ordinario s1Gtr Ordinario s2Gtr Ordinario s3Gtr Ordinario s4Gtr Ordinario s5Gtr Ordinario s6

Gtr Sul ponticelloGtr Sul tasto

ExtendedGtr DedilloGtr FX1Gtr FX2Gtr GlissandoGtr PizzicatoGtr Pizzicato bartokGtr RasguadoGtr SlideGtr Tap on body


56

12 Harp

ClassicalHarp Harmonic fingeringHarp KSHarp Ordinario

ExtendedHarp BisbigliandoHarp Bisbigliando w stickHarp Buzzing pedalHarp DampedHarp FXHarp GlissandiHarp Glissando w stickHarp Glissando with pedalHarp Harmonic in woodHarp Near the boardHarp Near the board with nailHarp Near the pegsHarp Pizzicato bartokHarp Scratch w nailHarp Tap with stickHarp Xylophonic


57

13 Violin

ClassicalVln FortepianoVln KSVln Note durations

Vln Dur 0,5sVln Dur 1sVln Dur KS

Vln Ordinario by stringVln Ordinario by string KSVln Ordinario s1Vln Ordinario s2Vln Ordinario s3Vln Ordinario s4

Vln OrdinarioVln Ordinario XVln Pizzicato l.vib by string

Vln Pizzicato l.vib by string KSVln Pizzicato l.vib s1Vln Pizzicato l.vib s2Vln Pizzicato l.vib s3Vln Pizzicato l.vib s4

Vln Pizzicato l.vibVln Pizzicato secco by string

Vln Pizzicato secco by string KSVln Pizzicato secco s1Vln Pizzicato secco s2Vln Pizzicato secco s3Vln Pizzicato secco s4

Vln Pizzicato seccoVln SforzandoVln StaccatoVln Tremolo by string

Vln Tremolo by string KSVln Tremolo s1Vln Tremolo s2Vln Tremolo s3Vln Tremolo s4

Vln TremoloVln Tremolo XVln Trill maj2 by string

Vln Trill maj2 by string KSVln Trill maj2 s1Vln Trill maj2 s2Vln Trill maj2 s3Vln Trill maj2 s4


58

Vln Trill maj2Vln Trill min2 by string

Vln Trill min2 by string KSVln Trill min2 s1Vln Trill min2 s2Vln Trill min2 s3Vln Trill min2 s4

Vln Trill min2

ExtendedVln Art harmonicVln Artificial harmonic by string

Vln Artificial harmonic by string KSVln Artificial harmonic s1Vln Artificial harmonic s2Vln Artificial harmonic s3Vln Artificial harmonic s4

Vln Artificial harmonic tremoloVln Artificial harmonic tremolo by string

Vln Art harmonic tremolo by string KSVln Art harmonic tremolo s1Vln Art harmonic tremolo s2Vln Art harmonic tremolo s3Vln Art harmonic tremolo s4

Vln Behind the bridgeVln Col legno battuto by string

Vln Col legno battuto by string KSVln Col legno battuto s1Vln Col legno battuto s2Vln Col legno battuto s3Vln Col legno battuto s4

Vln Col legno battutoVln Col legno tratto by string

Vln Col legno tratto by string KSVln Col legno tratto s1Vln Col legno tratto s2Vln Col legno tratto s3Vln Col legno tratto s4

Vln Col legno trattoVln FXVln KS All Bow PosVln KS All PizzVln KS All TremsVln Natural harmonics glissandi

Vln NHarm Gliss Fst AscVln NHarm Gliss Fst DscVln NHarm Gliss KS


59

Vln NHarm Gliss Mod AscVln NHarm Gliss Mod DescVln NHarm Gliss Slw AscVln NHarm Gliss Slw Dsc

Vln Non vibrato by stringVln Non vibrato by string KSVln Non vibrato s1Vln Non vibrato s2Vln Non vibrato s3Vln Non vibrato s4

Vln Non vibratoVln On the tuning pegsVln Pizzicato bartok by string

Vln Pizzicato bartok by string KSVln Pizzicato bartok s1Vln Pizzicato bartok s2Vln Pizzicato bartok s3Vln Pizzicato bartok s4

Vln Pizzicato bartokVln Sul ponticello by string

Vln Sul ponticello by string KSVln Sul ponticello s1Vln Sul ponticello s2Vln Sul ponticello s3Vln Sul ponticello s4

Vln Sul ponticello tremolo by stringVln Sul ponticello tremolo by string KSVln Sul ponticello tremolo s1Vln Sul ponticello tremolo s2Vln Sul ponticello tremolo s3Vln Sul ponticello tremolo s4

Vln Sul ponticello tremoloVln Sul ponticelloVln Sul tasto by string

Vln Sul tasto by string KSVln Sul tasto s1Vln Sul tasto s2Vln Sul tasto s3Vln Sul tasto s4

Vln Sul tasto

MutedVln Lead Mute Non vibrato by string

Vln Lead Mute Non vibrato by string KSVln Lead Mute Non vibrato s1Vln Lead Mute Non vibrato s2Vln Lead Mute Non vibrato s3


60

Vln Lead Mute Non vibrato s4Vln Lead Mute Non vibratoVln Lead Mute Ordinario by string

Vln Lead Mute Ordinario by string KSVln Lead Mute Ordinario s1Vln Lead Mute Ordinario s2Vln Lead Mute Ordinario s3Vln Lead Mute Ordinario s4

Vln Lead Mute OrdinarioVln Lead Mute Tremolo by string

Vln Lead Mute Tremolo by string KSVln Lead Mute Tremolo s1Vln Lead Mute Tremolo s2Vln Lead Mute Tremolo s3Vln Lead Mute Tremolo s4

Vln Lead Mute TremoloVln Mute Non vibrato by string

Vln Mute Non vibrato by string KSVln Mute Non vibrato s1Vln Mute Non vibrato s2Vln Mute Non vibrato s3Vln Mute Non vibrato s4

Vln Mute Non vibratoVln Mute Ordinario by string

Vln Mute Ordinario by string KSVln Mute Ordinario s1Vln Mute Ordinario s2Vln Mute Ordinario s3Vln Mute Ordinario s4

Vln Mute OrdinarioVln Mute Tremolo by string

Vln Mute Tremolo by string KSVln Mute Tremolo s1Vln Mute Tremolo s2Vln Mute Tremolo s3Vln Mute Tremolo s4

Vln Mute TremoloTransitionsVln Chromatic scaleVln CrescendoVln Crescendo to decrescendoVln DecrescendoVln Ordinario to pressured by string

Vln Ordinario to pressured KSVln Ordinario to pressured s1Vln Ordinario to pressured s2Vln Ordinario to pressured s3


61

Vln Ordinario to pressured s4Vln Ordinario to pressuredVln Ordinario to sul ponticelloVln Ordinario to sul tastoVln Ordinario to tremolo by string

Vln Ordinario to tremolo KSVln Ordinario to tremolo s1Vln Ordinario to tremolo s2Vln Ordinario to tremolo s3Vln Ordinario to tremolo s4

Vln Ordinario to tremoloVln Pressured to ordinario by string

Vln Pressured to ordinario KSVln Pressured to ordinario s1Vln Pressured to ordinario s2Vln Pressured to ordinario s3Vln Pressured to ordinario s4

Vln Pressured to ordinarioVln Sul ponticello to ordinarioVln Sul ponticello to sul tastoVln Sul tasto to ordinarioVln Sul tasto to sul ponticelloVln Tremolo to ordinario by string

Vln Tremolo to ordinario KSVln Tremolo to ordinario s1Vln Tremolo to ordinario s2Vln Tremolo to ordinario s3Vln Tremolo to ordinario s4

Vln Tremolo to ordinario


62

14 Viola

ClassicalVla FortepianoVla KSVla Note durations

Vla Dur 0,5sVla Dur 1secVla Dur KS

Vla Ordinario by stringVla Ordinario by string KSVla Ordinario s1Vla Ordinario s2Vla Ordinario s3Vla Ordinario s4

Vla Ordinario XVla OrdinarioVla Pizzicato l.vib by string

Vla Pizzicato l.vib by string KSVla Pizzicato l.vib s1Vla Pizzicato l.vib s2Vla Pizzicato l.vib s3Vla Pizzicato l.vib s4

Vla Pizzicato l.vibVla Pizzicato secco by string

Vla Pizzicato secco by string KSVla Pizzicato secco s1Vla Pizzicato secco s2Vla Pizzicato secco s3Vla Pizzicato secco s4

Vla Pizzicato seccoVla SforzandoVla StaccatoVla Tremolo by string

Vla Tremolo by string KSVla Tremolo s1Vla Tremolo s2Vla Tremolo s3Vla Tremolo s4

Vla Tremolo XVla TremoloVla Trill maj2 up by string

Vla Trill maj2 up by string KSVla Trill maj2 up s1Vla Trill maj2 up s2Vla Trill maj2 up s3Vla Trill maj2 up s4


63

Vla Trill maj2 upVla Trill min2 up by string

Vla Trill min2 up by string KSVla Trill min2 up s1Vla Trill min2 up s2Vla Trill min2 up s3Vla Trill min2 up s4

Vla Trill min2 up

ExtendedVla Art harmonic tremoloVla Artificial harmonic by string

Vla Artificial harmonic by string KSVla Artificial harmonic s1Vla Artificial harmonic s2Vla Artificial harmonic s3Vla Artificial harmonic s4

Vla Artificial harmonic tremolo by stringVla Art harmonic tremolo by string KSVla Art harmonic tremolo s1Vla Art harmonic tremolo s2Vla Art harmonic tremolo s3Vla Art harmonic tremolo s4

Vla Artificial harmonicVla Behind the bridgeVla Behind the fingerboardVla Col legno battuto by string

Vla Col legno battuto by string KSVla Col legno battuto s1Vla Col legno battuto s2Vla Col legno battuto s3Vla Col legno battuto s4

Vla Col legno battutoVla Col legno tratto by string

Vla Col legno tratto by string KSVla Col legno tratto s1Vla Col legno tratto s2Vla Col legno tratto s3Vla Col legno tratto s4

Vla Col legno trattoVla FXVla KS All Bow PosVla KS All PizzVla KS All TremsVla Natural Harmonics Gliss

Vla NHarm Gliss Fast AscVla NHarm Gliss Fast Desc


64

Vla NHarm Gliss KSVla NHarm Gliss Mod AscVla NHarm Gliss Mod DescVla NHarm Gliss Slow AscVla NHarm Gliss Slow Desc

Vla Non vibrato by stringVla Non vibrato by string KSVla Non vibrato s1Vla Non vibrato s2Vla Non vibrato s3Vla Non vibrato s4

Vla Non vibratoVla On the tuning pegsVla Pizzicato bartok by string

Vla Pizzicato bartok by string KSVla Pizzicato bartok s1Vla Pizzicato bartok s2Vla Pizzicato bartok s3Vla Pizzicato bartok s4

Vla Pizzicato bartokVla Sul ponticello by string

Vla Sul ponticello by string KSVla Sul ponticello s1Vla Sul ponticello s2Vla Sul ponticello s3Vla Sul ponticello s4

Vla Sul ponticello tremolo by stringVla Sul ponticello tremolo by string KSVla Sul ponticello tremolo s1Vla Sul ponticello tremolo s2Vla Sul ponticello tremolo s3Vla Sul ponticello tremolo s4

Vla Sul ponticello tremoloVla Sul ponticelloVla Sul tasto by string

Vla Sul tasto by string KSVla Sul tasto s1Vla Sul tasto s2Vla Sul tasto s3Vla Sul tasto s4

Vla Sul tasto tremolo by stringVla Sul tasto tremolo by string KSVla Sul tasto tremolo s1Vla Sul tasto tremolo s2Vla Sul tasto tremolo s3Vla Sul tasto tremolo s4

Vla Sul tasto tremolo


65

Vla Sul tasto

MutedVla Lead Mute Non vibratoVla Lead Mute OrdinarioVla Lead Mute TremoloVla Mute Non vibrato by string

Vla Mute Non vibrato by string KSVla Mute Non vibrato s1Vla Mute Non vibrato s2Vla Mute Non vibrato s3Vla Mute Non vibrato s4

Vla Mute Non vibratoVla Mute Ordinario by string

Vla Mute Ordinario by string KSVla Mute Ordinario s1Vla Mute Ordinario s2Vla Mute Ordinario s3Vla Mute Ordinario s4

Vla Mute OrdinarioVla Mute Tremolo by string

Vla Mute Tremolo by string KSVla Mute Tremolo s1Vla Mute Tremolo s2Vla Mute Tremolo s3Vla Mute Tremolo s4

Vla Mute Tremolo

TransitionsVla Chromatic scaleVla Crescendo to decrescendoVla CrescendoVla DecrescendoVla Ordinario to pressuredVla Ordinario to sul ponticelloVla Ordinario to sul tastoVla Ordinario to tremoloVla Pressured to ordinarioVla Sul ponticello to ordinarioVla Sul ponticello to sul tastoVla Sul tasto to ordinarioVla Sul tasto to sul ponticelloVla Tremolo to ordinario


66

15 Cello

ClassicalVc FortepianoVc KSVc Note durations

Vc 0,5sVc 1sVc Note Durations KS

Vc Ordinario by stringVc Ordinario by string KSVc Ordinario s1Vc Ordinario s2Vc Ordinario s3Vc Ordinario s4

Vc Ordinario XVc OrdinarioVc Pizzicato l.vib by string

Vc Pizzicato l.vib by string KSVc Pizzicato l.vib s1Vc Pizzicato l.vib s2Vc Pizzicato l.vib s3Vc Pizzicato l.vib s4

Vc Pizzicato l.vibVc Pizzicato secco by string

Vc Pizzicato secco by string KSVc Pizzicato secco s1Vc Pizzicato secco s2Vc Pizzicato secco s3Vc Pizzicato secco s4

Vc Pizzicato seccoVc SforzandoVc StaccatoVc Tremolo by string

Vc Tremolo by string KSVc Tremolo s1Vc Tremolo s2Vc Tremolo s3Vc Tremolo s4

Vc Tremolo XVc TremoloVc Trill maj2 up by string

Vc Trill maj2 up by string KSVc Trill maj2 up s1Vc Trill maj2 up s2Vc Trill maj2 up s3


67

Vc Trill maj2 up s4Vc Trill maj2 upVc Trill min2 up by string

Vc Trill min2 up by string KSVc Trill min2 up s1Vc Trill min2 up s2Vc Trill min2 up s3Vc Trill min2 up s4

Vc Trill min2 up

ExtendedVc Art harmonic tremoloVc Artificial harmonic by string

Vc Artificial harmonic by string KSVc Artificial harmonic s1Vc Artificial harmonic s2Vc Artificial harmonic s3Vc Artificial harmonic s4

Vc Artificial harmonic tremolo by stringVc Art harmonic tremolo by string KSVc Art harmonic tremolo s1Vc Art harmonic tremolo s2Vc Art harmonic tremolo s3Vc Art harmonic tremolo s4

Vc Artificial harmonicVc Behind the bridgeVc Col legno battuto by string

Vc Col legno battuto by string KSVc Col legno battuto s1Vc Col legno battuto s2Vc Col legno battuto s3Vc Col legno battuto s4

Vc Col legno battutoVc Col legno tratto by string

Vc Col legno tratto by string KSVc Col legno tratto s1Vc Col legno tratto s2Vc Col legno tratto s3Vc Col legno tratto s4

Vc Col legno trattoVc FXVc KS All Bow PosVc KS All PizzVc KS All TremsVc Natural harmonics glissandi

Vc NHarm Gliss Fst AscVc NHarm Gliss Fst Desc


68

Vc NHarm Gliss KSVc NHarm Gliss Mod AscVc NHarm Gliss Mod DescVc NHarm Gliss Slw AscVc NHarm Gliss Slw Desc

Vc Non vibrato by stringVc Non vibrato by string KSVc Non vibrato s1Vc Non vibrato s2Vc Non vibrato s3Vc Non vibrato s4

Vc Non vibratoVc On the tuning pegsVc Pizzicato bartok by string

Vc Pizzicato bartok by string KSVc Pizzicato bartok s1Vc Pizzicato bartok s2Vc Pizzicato bartok s3Vc Pizzicato bartok s4

Vc Pizzicato bartokVc Sul ponticello by string

Vc Sul ponticello by string KSVc Sul ponticello s1Vc Sul ponticello s2Vc Sul ponticello s3Vc Sul ponticello s4

Vc Sul ponticello tremolo by stringVc Sul ponticello tremolo by string KSVc Sul ponticello tremolo s1Vc Sul ponticello tremolo s2Vc Sul ponticello tremolo s3Vc Sul ponticello tremolo s4

Vc Sul ponticello tremoloVc Sul ponticelloVc Sul tasto by string

Vc Sul tasto by string KSVc Sul tasto s1Vc Sul tasto s2Vc Sul tasto s3Vc Sul tasto s4

Vc Sul tasto tremolo by stringVc Sul tasto tremolo by string KSVc Sul tasto tremolo s1Vc Sul tasto tremolo s2Vc Sul tasto tremolo s3Vc Sul tasto tremolo s4

Vc Sul tasto tremolo


69

Vc Sul tasto

MutedVc Lead Mute Non vibrato by string

Vc Lead Mute Non vibrato by string KSVc Lead Mute Non vibrato s1Vc Lead Mute Non vibrato s2Vc Lead Mute Non vibrato s3Vc Lead Mute Non vibrato s4

Vc Lead Mute Non vibratoVc Lead Mute Ordinario by string

Vc Lead Mute Ordinario by string KSVc Lead Mute Ordinario s1Vc Lead Mute Ordinario s2Vc Lead Mute Ordinario s3Vc Lead Mute Ordinario s4

Vc Lead Mute OrdinarioVc Lead Mute Tremolo by string

Vc Lead Mute Tremolo by string KSVc Lead Mute Tremolo s1Vc Lead Mute Tremolo s2Vc Lead Mute Tremolo s3Vc Lead Mute Tremolo s4

Vc Lead Mute TremoloVc Mute Non Vibrato by string

Vc Mute Non vibrato by string KSVc Mute Non vibrato s1Vc Mute Non vibrato s2Vc Mute Non vibrato s3Vc Mute Non vibrato s4

Vc Mute Non vibratoVc Mute Ordinario by string

Vc Mute Ordinario by string KSVc Mute Ordinario s1Vc Mute Ordinario s2Vc Mute Ordinario s3Vc Mute Ordinario s4

Vc Mute OrdinarioVc Mute Tremolo by string

Vc Mute Tremolo by string KSVc Mute Tremolo s1Vc Mute Tremolo s2Vc Mute Tremolo s3Vc Mute Tremolo s4

Vc Mute Tremolo

TransitionsVc Chromatic scale


70

Vc Crescendo to decrescendoVc CrescendoVc DecrescendoVc Ordinario to pressuredVc Ordinario to sul ponticelloVc Ordinario to sul tastoVc Ordinario to tremoloVc Pressured to ordinarioVc Sul ponticello to ordinarioVc Sul ponticello to sul tastoVc Sul tasto to ordinarioVc Sul tasto to sul ponticelloVc Tremolo to ordinario


71

16 Contrabass

ClassicalCb FortepianoCb KSCb Note durations

Cb Dur 0,5sCb Dur 1sCb Dur KS

Cb Ordinario by stringCb Ordinario by string KSCb Ordinario s1Cb Ordinario s2Cb Ordinario s3Cb Ordinario s4

Cb Ordinario XCb OrdinarioCb Pizzicato l.vib by string

Cb Pizzicato l.vib by string KSCb Pizzicato l.vib s1Cb Pizzicato l.vib s2Cb Pizzicato l.vib s3Cb Pizzicato l.vib s4

Cb Pizzicato l.vibCb Pizzicato secco by string

Cb Pizzicato secco by string KSCb Pizzicato secco s1Cb Pizzicato secco s2Cb Pizzicato secco s3Cb Pizzicato secco s4

Cb Pizzicato seccoCb SforzandoCb StaccatoCb Tremolo by string

Cb Tremolo by string KSCb Tremolo s1Cb Tremolo s2Cb Tremolo s3Cb Tremolo s4

Cb Tremolo XCb TremoloCb Trill maj2 by string

Cb Trill maj2 by string KSCb Trill maj2 s1Cb Trill maj2 s2Cb Trill maj2 s3Cb Trill maj2 s4


72

Cb Trill maj2Cb Trill min2 by string

Cb Trill min2 by string KSCb Trill min2 s1Cb Trill min2 s2Cb Trill min2 s3Cb Trill min2 s4

Cb Trill min2

ExtendedCb Art harmonic tremoloCb Artificial harmonic by string

Cb Artificial harmonic by string KSCb Artificial harmonic s1Cb Artificial harmonic s2Cb Artificial harmonic s3Cb Artificial harmonic s4

Cb Artificial harmonic tremolo by stringCb Art harmonic tremolo by string KSCb Art harmonic tremolo s1Cb Art harmonic tremolo s2Cb Art harmonic tremolo s3Cb Art harmonic tremolo s4

Cb Artificial harmonicCb Behind the bridgeCb Col legno battuto by string

Cb Col legno battuto by string KSCb Col legno battuto s1Cb Col legno battuto s2Cb Col legno battuto s3Cb Col legno battuto s4

Cb Col legno battutoCb Col legno tratto by string

Cb Col legno tratto by string KSCb Col legno tratto s1Cb Col legno tratto s2Cb Col legno tratto s3Cb Col legno tratto s4

Cb Col legno trattoCb FXCb KS All Bow PosCb KS All PizzCb KS All TremsCb Natural harmonics glissandi

Cb NHarm Gliss Fst AscCb NHarm Gliss Fst DescCb NHarm Gliss KS


73

Cb NHarm Gliss Mod AscCb NHarm Gliss Mod DescCb NHarm Gliss Slw AscCb NHarm Gliss Slw Desc

Cb Non vibrato by stringCb Non vibrato by string KSCb Non vibrato s1Cb Non vibrato s2Cb Non vibrato s3Cb Non vibrato s4

Cb Non vibratoCb On the tuning pegsCb Pizzicato bartok by string

Cb Pizzicato bartok by string KSCb Pizzicato bartok s1Cb Pizzicato bartok s2Cb Pizzicato bartok s3Cb Pizzicato bartok s4

Cb Pizzicato bartokCb Sul ponticello by string

Cb Sul ponticello by string KSCb Sul ponticello s1Cb Sul ponticello s2Cb Sul ponticello s3Cb Sul ponticello s4

Cb Sul ponticello tremolo by stringCb Sul ponticello tremolo by string KSCb Sul ponticello tremolo s1Cb Sul ponticello tremolo s2Cb Sul ponticello tremolo s3Cb Sul ponticello tremolo s4

Cb Sul ponticello tremoloCb Sul ponticelloCb Sul tasto by string

Cb Sul tasto by string KSCb Sul tasto s1Cb Sul tasto s2Cb Sul tasto s3Cb Sul tasto s4

Cb Sul tasto tremolo by stringCb Sul tasto tremolo by string KSCb Sul tasto tremolo s1Cb Sul tasto tremolo s2Cb Sul tasto tremolo s3Cb Sul tasto tremolo s4

Cb Sul tasto tremoloCb Sul tasto


74

MutedCb Mute Non vibrato by string

Cb Mute Non vibrato by string KSCb Mute Non vibrato s1Cb Mute Non vibrato s2Cb Mute Non vibrato s3Cb Mute Non vibrato s4

Cb Mute Non vibratoCb Mute Ordinario by string

Cb Mute Ordinario by string KSCb Mute Ordinario s1Cb Mute Ordinario s2Cb Mute Ordinario s3Cb Mute Ordinario s4

Cb Mute OrdinarioCb Mute Tremolo by string

Cb Mute Tremolo by string KSCb Mute Tremolo s1Cb Mute Tremolo s2Cb Mute Tremolo s3Cb Mute Tremolo s4

Cb Mute Tremolo

TransitionsCb Chromatic ScaleCb Crescendo to decrescendoCb CrescendoCb DecrescendoCb Ordinario to pressuredCb Ordinario to sul ponticelloCb Ordinario to sul tastoCb Ordinario to tremoloCb Pressured to ordinarioCb Sul ponticello to ordinarioCb Sul ponticello to sul tastoCb Sul tasto to ordinarioCb Sul tasto to sul ponticelloCb Tremolo to ordinario


75

Appendix B: Key Switch Reference

Regular Key Switches

Oct C C# D D# E F F# G

Flute 2 Ord Flatt. Staccato Sforzando Pizzicato n/a n/a n/a

Oboe 2 Ord Flatt Staccato Sforzando Vibrato n/a n/a n/a

Clarinet 1 Ord Flatt Staccato Sforzando 1sec n/a n/a n/a

Bassoon 0 Ord Flatt Staccato Sforzando Mute n/a n/a n/a

Saxophone 1 Ord Flatt Staccato Sforzando Backwards n/a n/a n/a

French Horn 0 Ord Flatt Staccato Sforzando Cuivré n/a n/a n/a

Trumpet 2 Ord Flatt Staccato Sforzando Cuivré n/a n/a n/a

Trombone 0 Ord Flatt Staccato Sforzando Cuivré n/a n/a n/a

Tuba 0 Ord Flatt Staccato Sforzando Cuivré n/a n/a n/a

Harp -1 Ord n/a Damped Bisb n/a n/a Xylo Harmonic in Wd

AccordionOrd DBL All -1 DBL1 DBL2 DBL3 DBL4 DBL5 n/a n/a n/a

Guitar bystring KS1 0 str6 str5 str4 str3 str2 str1 n/a n/a

Violin 1 Ord Sforz. fp Staccato Tremolo Trill -2 Trill +2 Pizzicato l.vib Art. Harmonics

Viola 1 Ord Sforz. fp Staccato Tremolo Trill -2 Trill +2 Pizzicato l.vib Art. Harmonics

Cello 0 Ord Sforz. fp Staccato Tremolo Trill -2 Trill +2 Pizzicato l.vib Art. Harmonics

Contrabass 6 Ord Sforz. fp Staccato Tremolo Trill -2 Trill +2 Pizzicato l.vib Art. Harmonics

1 Guitar Ordinario and Harmonic fingering KS presets are alike


76

Duration Key Switches

Note length is set to 0,5 second for Keyswitch C, 1 second for Keyswitch C#

Flute Note Durations KS C2 / C#2

Oboe Note Durations KS C2 / C#2

Clari Note Durations KS C2 / C#2

Bassn Note Durations KS C0 / C#0

French Horn Note Durations KS C0 / C#0

Trumpet Note Durations KS C0 / C#0

Trombone Note Durations KS C2 / C#2

Violin Note Durations KS C0 / C#0

Viola Note Durations KS C2 / C#2

Cello Note Durations KS C0 / C#0

Cbass Note Durations KS C5 / C#5

Natural Harmonics Glissandi Key Switches

SlowAscending

SlowDescending

MedAscending

MedDescending

FastAscending

FastDescending

Violin C1 D1 E1 F1 G1 A1

Viola C1 D1 E1 F1 G1 A1

Cello C0 D0 E0 F0 G0 A0

Contrabass C5 D5 E5 F5 G5 A5


77

All Positions Key Switches (strings)

All Bow PositionsSul Tasto Ordinario Sul Ponticello

Violin C2 C#2 D2

Viola C1 C#1 D1

Cello C0 C#0 D0

Contrabass C5 C#5 D5

All Pizzicati

Light Vibrato Secco Bartok

Violin C2 C#2 D2

Viola C1 C#1 D1

Cello C0 C#0 D0


All TremsSul Tasto Ordinario Sul Ponticello

Violin n/a C#2 D2

Viola C1 C#1 D1

Cello C0 C#0 D0



78

By string Key Switches

Str4 Str3 Str2 Str1

Violin by string KS presets C2 C#2 D2 D#2

But :Vln Artificial Harmonic by string KS C4 C#4 D4 D#4

Vln Art Harmonic Trem by string KS C4 C#4 D4 D#4

Viola by string KS presets C1 C#1 D1 D#1

But :Vla Art Harmonic by string KS C3 C#3 D3 D#3

Vla Art Harmonic Trem by string KS C3 C#3 D3 D#3

Cello by string KS presets C0 C#0 D0 D#0

But :Vc Art Harmonic by string KS C2 C#2 D2 D#2

Vc Art Harmonic Trem by string KS C2 C#2 D2 D#2

Contrabass by string KS presets C5 C#5 D5 D#5

But :Cb Art Harmonic by string KS C1 C#1 D1 D#1

Cb Art Harmonic Trem by string KS C1 C#1 D1 D#1


79

CREDITS

SOLOISTSPascal Robault Viola Antoine Ladrette Cello Hae-Sun Kang Violin Didier Meu Double Bass JensMc Manama Horn Laurent Bomont Trumpet Benny Sluchin Trombone (tenor/bass) Gérard BuquetTuba Claude Delangle Saxophone (alto in Eb) Catherine Bowie Flute Hélène Devilleneuve OboePierre Dutrieu Clarinet Laurent Le Chenadec Bassoon Tania Chagniot Guitar Virginie TarreteHarp Pascal Contet Accordion

IRCAM DESIGN & DEVELOPMENTHugues Vinet Scientific DirectorGuillaume Ballet (1997-1998), Pascal Mullon (1999-2003), Jérôme Barhélémy (since 2004)

IRCAM Project ManagersJoshua Fineberg (1997), Fabien Lévy (1998) Artistic DirectorsFrançois Eckert (1997), Vérène Gribonval (1998) Sound EngineersRolf Wöhrmann (1997), Rodolphe Bailly, Riccardo Borghesi, Peter Hoffmannn (1998), GuillaumeBoutard (since 1999), Max Jacob (since 2000)

IRCAM Software DevelopersAntoine Mercier (1997), Gérard dʼElia (1998), Cécile Lenoir (1998) Sound EditingNicolas Misdariis (Psychoacoustics), Geoffroy Peeters, Vincent Rioux, Patrice Tisserand(Analysis-Synthesis), Emmanuel Deruty (Sound Design)

DVD Rom ProductionManuel Poletti

ULTIMATE SOUND BANK SOUND DESIGNEmmanuel Usai

ULTIMATE SOUND BANK DEVELOPMENTOlivier Tristan, Remy Muller

DOCUMENTATIONYan Maresz, Benoit Henriot, Emmanuel Usai

ADMINISTRATIONFrank Madlener DirectorVincent Puig Publishing DirectorClaire Marquet Publishing & Rights Coordinator

SPECIAL THANKS TOLaurent Ghys, Serge Lemouton, Yan MareszFrench Ministry of Industry within the context of the Information Superhighway Call forProjects, Ministry of Culture and Communication Research and Technology Mission

Ircam Solo Instruments Ref. Guidefiles5.bestservice.de/demo_files/00005326.pdf · Playing...

Documents

Transcript of Ircam Solo Instruments Ref. Guidefiles5.bestservice.de/demo_files/00005326.pdf · Playing...