This is far from an exhaustive list, but it will get us started.
Flute
- Consider separately for the purposes of extended techniques, as the sound production is fundamentally different than the rest of the woodwind family.
- References
- Robert Dick: The Other Flute: a performance manual of contemporary techniques [WSU library]
- Larry Krantz: Extended Techniques Resource Page explanations with audio
- Harmonics: You can give the fundamental with a diamond (in the lowest octave, this is the fingering the player will use) and then show the intended note with a harmonic circle above
- Flutter tonguing – possible on other woodwinds as well, but particularly common for flute, as the mouth cavity is more open
- Percussive tonguing
- tongue pizz.
- tongue stops (fundamentals only, lowest octave)
- Pitch bends – slight bends achieved by rolling the flute in or out
- Jet whistle: very fast over-blowing through a series of harmonics
- Whistle tones: very soft, subtle high sounds
- Breath tone (related: “shakuhachi” style)
- alternate fingerings (microtones, timbral trills)
- Sing (while playing or not)
- works
- George Crumb: Vox Balanae
- Ian Clarke: Zoom Tube
- Robert Dick: Lookout (and lots of other works)
- Luciano Berio: Sequenza I
Reeds
- Key clicks (also on flute): very soft!
- Alternate fingerings (microtones, timbral trills)
- Singing while playing (sligtly trickier than on flute, but doable)
- Multiphonics (fingerings and voicings that produce multiple sounds)
- require special fingerings
- some more suited to loud playing, others to soft playing
- may vary slightly between players and instruments
- consult a fingering chart, or better yet, a performer, or even better, the performer who will premiere the work
- saxophone book: Daniel Kientzy: Les sons multiples aux saxophones
- clarinet: Gregory Oakes: Clarinet Extended Techniques (microtonal fingerings too!)
- The Woodwind Fingering Guide (links to several different extended fingering charts)
- Slap tongue
- open (more percussive air sound)
- closed (more pitch, pizzicato-like)
- works
- oboe
- Luciano Berio: Sequenza VII (my favorite of the sequenzas)
- Heinz Holliger: Studie for Oboe (This is the person for whom the Berio oboe sequenza was written. There are two studies.)
- saxophone
- Christian Lauba: Neuf études for saxophone (“Sanza” has some good multiphonic staccato examples, “Jungle” includes slap tongue, many require circular breathing to play as written)
- William Albright: Doo Dah for three alto saxophones
- David MacDonald: Inner/Outer Monologue for unaccompanied tenor saxophone
- clarinet
- Eric Mandat: Rrowzer! (forgive him the title)
- Leslie Basset: Soliloquies
- Luciano Berio: Sequenza IX
- oboe