2.2 Extended techniques used notation:
Buzzing Technique:
1- This technique is a extended sound texture and harmonic development
exploration of a existed extended technique for pedal harp. In this notation I try
to explain the way of applying this musical element, the note travels thought all
the possible microtones from one note his next half not, which is made by the
pedal creating 2 sounds, a mechanical - machine buzzing, and a series of
harmonics that change pitch depending how delicate, clean and slow you move
the pedal thought the positions. The technique can be done in any metal string
on the harp that has a pedal change.

1)

2- The dying string: this technique was created by me to break a string (about to
break, because of instrument nature) at the end of a piece before the string
breaks without you noticing. Is a 5 minutes piece in which I play around the
harp without touching the string, at the end, as we see in the notation, I start detuning and tuning the string till take it to the highest note and break it loudly.

2)

3- Gliss in one string: this technique creates a creepy horror movie sound in the
harp, is close to a high scream but in pianissimo. The way of playing it depend
on how fast or slow you gliss the strings, can be only done in the metal strings of
any harp.

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4- Muffle notes, similar to Bass: this technique was made so the harp can play
same melodies in various sound textures. In this technique the right hand plays
the melodies and the left hand muffle the same notes near the soundboard.

4)

5- High note bending technique: this technique was created to imitate the North
Indian melodic tradition, in which the Sitar and the singer play ornaments to
enrich the notes, the harp will display a type of vibrato and microtones, that go
very well when accompanying a singer.

5)

6- Double bending Technique: this technique is very similar to the high note
technique, in this situation I choose two notes that are possible (pedal) to sound
enharmonic, for example, D sharp and E flat, and only bend one of them to
create the desired texture. I have use it for middle eastern music in general.

6)

7- Flamenco chord strumming: this technique is a used harp technique in which the
left hand muffles the notes around the chords that we don’t want to listen, and
the right hand strums the chords. For imitating the flamenco sound, I use some
nail and follow a harmonic rhythm depending on the “palo”, this technique
applies to any palo. Also, this technique can be played in open strumming, so I
put the key and all the chord notes with enharmonic in the pedal diagram, and
strum rhythm with both hands.

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8- Open Strumming technique: this technique is very similar to the chord
strumming technique, the difference is that I write a pedal harp diagram or just
pedal changes, that create the harmony that I want to use, if it is flamenco

usually Phrygian, after I place the pedals in the notes I want to sound, I star
strumming in any flamenco rhythm that I want.

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