In addition to some of the extended techniques already covered, a few others are worth mentioning. 90 Minutes Circling the Earth is not overtly designed to feature extended instrumental techniques, but by necessity, some were incorporated according to the musical and programmatic nature of the piece.

The opening and ending sections represent outer space, in order to help 'place' the listener 'in orbit'. In addition to the string harmonics, the percussion are central to creating this effect (see Ex. No.19)

Musical Example No.19

The most unusual technique found here is in the timpani, which has a Japanese temple bowl placed on it. This bowl is then struck, and while it is ringing, the pitch pedal is adjusted, creating an eerie, almost electronic, wavering effect. Coupled with this are the crotales and vibraphone which are both struck and bowed. They are bowed with a cello or double bass bow, and this effect is similar to rubbing a wettened finger around the top of a wine glass until it resonates.

The use of glissandi is not limited to the timpani effect above. The strings all use it in different sections, but none more so than the double bass (see Ex. No.20):

Musical Example No.20

This use of pizzicato-glissandi bass is typical of much acoustic jazz, a style that is influential in the conception of this piece. It works best on the basses (as opposed to the violins or violas) because the longer, thicker strings also resonate longer (after plucked) and so the motion of the glissandi is most noticeable.

The trombones are another obvious choice of instrument to exploit glissandi effects and they are used here on a number of occasions. A good example of this is the use of all three trombones at bar 65 (see Ex. No.21)

Musical Example No.21

In bar 68 of this example, the 1st trombone glissandos upwards while the 2nd and 3rd trombones glissando downwards, in contrary motion. The glissandi are deliberately marked 'slow' so that the effect is emphasised.

Finally, the use of drum kit in the piece is slightly unusual. It is not 'new' - Bernstein, amongst others uses it, but it is certainly not standard. There are two basic patterns used in conjunction with the tambourine. The first is in 12/8 (see Ex. No.22) and has a laid-back jazz feel:

Musical Example No.22

In the 12/8 pattern, the ride cymbal holds the pulse and the tambourine plays around it but generally not on it. In the 4/4 pattern (see Ex. No.23), the feel is racier:

Musical Example No.23

Here, the tambourine plays consistent semiquavers whilst kit plays a funk/rock pattern. In the case of both the rock and jazz feels, the beats emphasised are 2 and 4 (rather than 1 and 3 as in 'classical' music). In live performance, it is suggested that the drum kit and percussion are set up in the middle of the orchestra - rather than the back - so that the whole orchestra can more accurately slot into the grooves created.