1. EXTENDED PIANO TECHNIQUES.

CLASIFICATION
EXPERIENCE: NEW VIEW (ON THE EXAMPLES OF SOLO PIECES
BY UKRAINIAN COMPOSERS)

2. Principles of Piano Works with Extended Techniques

Systematization (on the Examples of Solo Pieces by Ukrainian Composers)

3. New principle of classification of works with the use of extended

techniques (on the example of solo pieces by Ukrainian composers)

4. Systematization of Extended Piano Techniques (on the example of

pieces for piano solo by Ukrainian composers)

5. The principle of Classification of Extended techniques through the

prism of works (on the example of pieces for piano solo by Ukrainian
composers)

6. New principle/experience of classification of extended techniques (on

the example of solo pieces of Ukrainian composers)

At the beginning of the 20th century a new phenomenon in the field of art
music was the introduction of extended techniques for playing various musical
instruments. The main idea of using the extended ways of playing piano was to find
atypical sounds and reveal the timbre palette of the instrument. To date, we can say
that the system of extended piano techniques includes many ways to play.
The analysis of scientific works, mainly by American and European authors,
shows a considerable number of different classifications of extended piano
techniques (Ishii Reiko, Jean-François Proulx, Luk Vaes etc). The main principle of
systematization of non-standard methods is the division of the piano into several
parts, on which these techniques are used. Most often, researchers consider using
extended piano techniques separately on strings, the keyboard and other parts of the
instrument (metal frame, pedal mechanism, etc.).
This research focuses on the study of solo piano pieces by Ukrainian
composers of the second half of the 20th - early 21st century, which use non-standard
techniques of sound extraction. My classification offers a new idea for considering
unconventional piano playing methods.
First of all, I come from a work that involves extended techniques. An attempt
is made to classify these techniques not as a separate phenomenon, but as directly
living within one work. Works for piano solo in which extended methods of playing
are used are systematized at three features:
1. by the number of techniques:
 use of one method (Klavierstück No.3 by B. Kryvopust);
 use of a complex methods («Greetings M.K.» byV. Runchak).
2. by degree of use:
 extended techniques are used fragmentarily, traditional piano techniques
prevail (Romantic elegue for home music-making/Piano Sonata №2: «When
tired heart» by I. Shcherbakov);
 traditional and extended piano methods are used on equal terms in
percentage and functional ratio («Aqua Sonare» by A. Korsun);
 piano works are entirely based on the extended techniques
(«De(zember)» А. Кобзар).
3. by number of performers:
 only soloist («That's it!» by S. Zazhytko);
 soloist and assistant (Piano Sonata №3: «AER» by V. Tsanko).

Sharina Anastasiia is a postgraduate student of Tchaikovsky National Music

Academy of Ukraine. The object of her research is: contemporary art music, extended
piano techniques, Ukrainian music of the second half 20th - early 21st century. Her
study «Extended techniques in music for piano solo by Kyiv school composers (using
glissando as an example in “Aqua Sonare” by A. Korsun)» was awarded the first
prize at the Ukrainian competition of student scientific works on «Musical art» and
«Cultural studies» (2018, Kyiv). She is the author of three articles and took part at
many scientific conferences in Ukraine.