List of musical pieces which use extended techniques

Sequenzas I-XIV
″Dream of Witches' Sabbath" from Symphonie Fantastique. The violins play col legno, striking the wood of their bows on the strings.
Battalia (1673). The strings play col legno, striking the wood of their bows on the strings.
Le calife de Bagdad (opera, 1800), strings play col legno (Favre and Betzwieser 2001).
The Serpent's Kiss piano rag from the Garden of Eden suite (requires the pianists to slap the piano, stamp their feet and click their tongues to emphasise the piece's syncopated rhythm)
Passacaglia from Peter Grimes, rehearsal 6, "agitato", (pp. 16–17 of the score). The violins and violas play col legno, striking the wood of their bows on the strings.
prepared piano pieces (1938)
One8 (1991), for curved bow
Tides of Manaunaun (1915), large tone-clusters
The Banshee, Aeolian Harp, and Sinister Resonance, played inside the piano
Black Angels, extended string techniques, including bowing with glass rods
Makrokosmos (1972), prepared and amplified piano
Vox Balaenae (1971), harmonic glissando (gull effect)
Une heure de mariage (opera, 1804). Strings use col legno (Charlton 2001).
Miqi'nahual (1993) from his modular composition Doloritas (1992), stringed instrument with two right hand bows
Capriccio stravagante (from Ander Theil newer Paduanen, Gagliarden, Couranten, französischen Arien, 1627). The violins play glissando, pizzicato, tremolo, and in double stops, and use particular effects such as col legno (striking the wood of the bow on the strings) and sul ponticello (bowing close to the bridge), in order to imitate the sounds of a cat, a dog, a hen, the lyre, clarino trumpet, military drum, Spanish guitar, etc. (Boyden 2001; Pyron and Bianco 2001).
Più Mesto (2003), for 2-bow cello
Rosenleben (2006), for clarinet, cello and piano
Lauda (2009), cello concerto (for Anssi Karttunen)
En la soledat i el silenci (2008), for hyper-tempered koto and guitar
Boethius (2008), for biwa
String quartets
Imaginings (1994), stringed instrument with two right hand bows
El Cimarrón, which requires the baritone soloist to laugh, whistle, shout, scream and use falsetto
″Mars, Bringer of War" from The Planets. The strings play col legno, striking the wood of their bows on the strings.
Concord Sonata, use of a 14 3/4 inch long piece of wood to create a cluster chord
Holophony, for amplified string quartet. Scream sounds, duck sounds, saw sounds, reversed attack, energy control, oscillations.
Paranormal, for three amplified snaredrums. Wire brushes (Jazz rake, Dreadlock), metallic sweeping, granular sound, strumming, friction, slap.
Piece with Clocks, for prepared guitar using cork, matches and a foam mute
The Prince's Toys - Suite for Guitar, cross string "snare" technique, string scraped with thumbnail, percussion (striking of the guitar), playing behind the nut or saddle
Aventures
Nouvelles Aventures
Études pour piano: Toches bloquées, piano keys are depressed (blocked) by one hand and 'played' by another, thus not sounding but creating a sound gap.
Symphony No. 1 in D major, third movement (p. 91 of the UE score) first violins, divisi a 3, play col legno tratto, stroking the strings with the wood of their bows (Piston 1955, 22).
Symphony No. 2 in D major, first movement, b. 304–306, all the strings play col legno, striking the wood of their bows on the strings.
Anaklasis (1959), extended string techniques
Polymorphia (1961), extended string techniques
Threnody for the Victims of Hiroshima (1960), extended string techniques
Metal Machine Music, album made completely with audio feedback of guitars
Ogoun Badagris (1976), for 5 percussionists, innovative percussion techniques
Ku-Ka-Ilimoku (1978), for 4 percussionists, innovative percussion techniques
Rotae Passionis (1982), for small ensemble, woodwinds and piano double on percussion, extended percussion, flute and clarinet techniques
Bonham (1988), for 8 percussionists
Rouse makes constant use of extended techniques for percussion and other instruments
For Magister Zacharias, the mechanism of lifting the dampers without the hammers touching the keys is highly-amplified
Danse macabre, the strings play col legno to suggest the rattling of skeletons. (Latham 2002)
Gurrelieder (1911), and
Pierrot Lunaire Op. 21 (1912) which make the use of sprechstimme
String Quartet No. 4, op. 37 (1936). Fourth movement (Allegro), b. 882–88, all four instruments play col legno battuto, col legno tratto, and col legno tratto ponticello, on single notes and in double stops, trmolo, and in harmonics (Schoenberg 1939, 101–102).
String Trio, op. 45 (1946). The violin and cello play col legno battuto; the violin plays col legno tratto in double stops; all the instruments play col legno tratto ponticello, double stops; violin and viola play col legno tratto ponticello in double stops, which are also played tremolo (Boyden 2001; Schoenberg 1950, 1–5, 14, 18–19)
The World Looks Red (on Confusion is Sex) on which Lee Ranaldo plays 3rd Bridge guitar
The Friebird, the strings occasionally play col legno, striking the wood of their bows on the strings (Stravinsky 1964, 11, 40–43, 94–96, 102–103, 161–62).
Assobio a játo (1950), requires the flute to play "imitando fischi in toni ascendenti" (imitating whistles in rising tones), accomplished by blowing into the embouchure fff "as if one were warming up the instrument on a cold day" (Villa-Lobos 1953, 12, and an instruction slip inserted in the score).
Chôros no. 8 (1925), for orchestra and two pianos, requires one or both of the pianos to insert paper between the strings for a passage (Villa-Lobos 1928, 109–116).
Nomos Alpha (1966), for solo cello, uses harmonic glissando
Chronos Kristalla (1990), for string quartet using a special tuning and only natural harmonics

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