Pitch bend. In case you wondered how glissandi and portamento is done: 1.

Set controllers RPN (100 for MSB and 101 for LSB) to 0. 2. Set data entry (controller 6(MSB) and 38(LSB)) to the number of semitones and 128ths of a semitone that you need. For example, setting controller 6 to 12 will allow you to have 12 semitones (1 octave) as the maximum range up and down. The default range is 2 semitones usually. 3. Now, at the places where glissando or portamento is required, create curves in pitch bend (NOT a controller!). You should take into account the range you set above. E.g. a curve from pitch bend 0 to 4096 will be a glissando from the original note to 6 semitones above (augmented fourth); a curve from 0 to -1365 will be a sliding from the original note to 2 semitones below--provided that you set data entry to 12. If you set data entry to 6, however, the same pitch bends will give you half the effect (i.e. 3 semitones above and 1 semitone below, respectively). 4. Be sure to set pitch bend back to 0 after the glissando passage is done (it is not reset by controller 121, since it's not a controller). A quote from Thomas Mann's Doktor Faustus on glissando (Chap. XXXIV (conclusion)): "We all know that it was the earliest concern, the first conquest of the musician to rid sound of its raw and primitive features, to fix to one single note the singing which in primeval times must have been a howling glissando over several notes, and to win from chaos a musical system. Certainly and of course: ordering and normalizing the notes was the condition and first self-manifestation of what we understand by music. Stuck there, so to speak, a naturalistic atavism, a barbaric rudiment from pre-musical days, is the gliding voice, the glissando, a device to be used with the greatest restraint on profoundly cultural grounds; I have always been inclined to sense in it an anti-cultural, antihuman appeal. [on Leverkhn's masterpiece, Apocalypsis cum figuris] ...images of terror offer a most tempting and at the same time most legitimate occasion for the employment of that savage device....This destructive sliding through the seven positions of [the trombone]! The theme represented by howling--what terror!" Of course, glissando doesn't just represent terror--see the Nielsen 6th Symphony, 2nd movement, where the trombone glissandi (mostly on the tritone) represents one part of the instability and chaos that invades the harmless rhythm (asserted repeatedly and unsuccessfully by the percussion) with humor.