Violin, Best Solution For Ammonia

Starting from C, the first 10 natural harmonics (including the fundamental sound) are the following "C C G C E G Bb C D E"

Every open string is a fundamental; each subsequent harmonic corresponds to a position.

The violin strings are E4 A3 D3 G2

With the appropriate transpositions of the harmonics at hand for choosing, calculate that from the sixth position onwards they are a bit crappy

For artificial harmonics, I leave the ball to those who are more expert; anyway, in a good orchestration treatise you will find everything

Ok Abate, but doing all the calculations and looking at the manual ... I only see a single A# in the register that interests me

Can anyone else give me a hand?

maybe you can take

a look here:

http://www.ericlindholm.net/harmonics.pdf

Thanks AleGozzo. As you can see, the sol6 seems to be unfeasible.

What I am not quite clear on is that I don't know if it depends on a deficiency of mine or if I understood correctly and that note is not feasible with a harmonic.

a quanto mi risulta il sol 6 è raggiungibile anche non con l'armonico, certo siamo al limite e bisogna vedere che effetto vuoi (non sarà una gran nota presumo ....)

meglio affidarlo a un armonico, nel caso del sol6 ad uno artificiale.

Le possibilità sono diverse, e il link che ti ho dato esaminava il caso di un violoncellista che deve suonare il sol6 (anche se probabilmente intende il do4 come centrale....). In ogni caso guardati l'esempio e "trasportalo" sul violino.

il testo è questo:

Example:

A cellist is asked to play G6 (fourth ledger line above the treble staff) as a harmonic. What are

the options?

It is generally worthwhile to consider natural harmonics first. G6 lies in the natural overtone

series of the open C- and G-strings, but these would require frequency multipliers of 24 and 16

respectively, neither of which is realistic. G6 lies only two octaves and a minor seventh above

the open A-string, and is thus in the natural overtone series. This harmonic requires a frequency

multiplier of 7, which is feasible, but it will be out of tune (see Table 3). G6 does not lie in the

overtone series of the open D-string. Thus the prospects for a natural harmonic are exhausted,

and an artificial harmonic is called for.

If the G6 is to be played as an artificial harmonic, we can identify candidate fundamental pitches

according to the interval they make with G6. Thus:

• Two octaves below G6 is G4, so G4 is a candidate fundamental.

• One octave and a fifth below G6 (frequency multiplier 3) is C5.

• Two octaves and a major third below G6 (frequency multiplier 5) is EP

β

4. PString harmonics 20

For each possible fundamental pitch, the artificial harmonic is realized in the same way that a

natural harmonic would be for the shortened string. Thus, referring back to Table 1 for

convenience, the node-creating finger must touch the string at

• a perfect fourth above the G4, which is C5, or

• a perfect fifth above the C5, which is G5, or

• a major third above the EP

β

4, which is G4 (since the major sixth is too far to stretch

Sorry AleGozzo, but I didn't understand a thing ... I struggle with English.

I understood that it is about artificial harmonics, so what do I write in the score?

The (Roman) number of the string below the relative note? Which one?

... and the diamond in parentheses on g6.... right?

Thanks and sorry, I'm really stuck

alright, I'll give you a simple explanation, or rather, an oversimplified one

artificial harmonics are obtained by pressing a note and simultaneously lightly touching the string at a specific interval (not all intervals produce the harmonic) depending on the sound you want to achieve.

on the violin, the best artificial harmonics are the 4th and 5th, i.e., by lightly touching the note you have pressed at a 4th or 5th above

by lightly touching the 4th, you obtain a sound 2 octaves above the pressed note (the pressed one, not the touched one)

with the 5th, the result is 1 octave + 1 perfect 5th

coming to G6 we have 2 possibilities:

1 - press G4 and lightly touch a 4th above (C5): G4 + 2 octaves = G6

2 - press C5 and lightly touch a 5th above (G5): C5 + (1 octave + 5th) = G6

i would say that solution 1 is definitely more convenient

as far as notation is concerned, the string being pressed is normally written (so G4) and the note to be lightly touched is written with a small diamond (so C5 will have the shape of a diamond).

the resulting note (G6) does not need to be written because it is implicit.

the string to use can be left to the discretion of the violinist or written down (in this case, I would say it's really not necessary)

hoping that everything is clear and above all correct, goodbye

:D

I have a doubt, but in terms of duration, how is the artificial harmonic? I mean, given the "grazing", can it be held for several seconds... or what?

it can be kept, it doesn't change much for the bow.

AleGozzo wrote:

you can keep it, for the bow it doesn't change much.

Ok