Glissando

[citation needed] A similar device on the piano are cluster-glissandos, used extensively by Karlheinz Stockhausen in Klavierstück X, and which "more than anything else, lend the work its unique aural flavour".

Wind, brass, and fretted-stringed-instrument players can perform an extremely rapid chromatic scale (e.g., sliding up or down a string quickly on a fretted instrument).

Arpeggio effects (likewise named glissando) are also obtained by bowed strings (playing harmonics) and brass, especially the horn.

Wind instruments can effect a similar limited slide by altering the lip pressure (on trumpet, for example) or a combination of embouchure and rolling the head joint (as on the flute), while others such as the clarinet can achieve this by slowly dragging fingers off tone holes or changing the oral cavity's resonance by manipulating tongue position, embouchure, and throat shaping.

Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to discrete, stepped glides conflict with established usage of the term for instruments like the trombone and timpani.

[8] The clarinet gesture that opens Rhapsody in Blue was originally notated as a stepped glissando (Gershwin's score labels each individual note) but is in practice played as a portamento.