But the 15ma harmonic isn't the middle one!  And in any case, with this
gliss it's about the balance between the harmonics, which will be the
same either way, and the unavoidable audible element of the slide
itself, which will be in contrary motion to the harmonics if you come
down the fingerboard.



> -----Original Message-----
> From: [EMAIL PROTECTED] 
> [mailto:[EMAIL PROTECTED] On Behalf Of Ray Horton
> Sent: 23 February 2008 17:29
> To: finale@shsu.edu
> Subject: Re: [Finale] Firebirds
> 
> 
>  From the middle harmonic, sliding either way sounds the same.  (Now 
> which is the middle harmonic?)  I'll get out a fiddle later 
> and try it, 
> such as my technique allows.  
> 
> 
> RBH
> 
> 
> Owain Sutton wrote:
> >   
> >> The easy solution for 1910 or 1919 is to just play it on the
> >> D string,  
> >> starting on the 15ma harmonic and glissing up (or, even 
> conceivably,  
> >> down, depending on from there.  You don't quite get the notes 
> >> that are  
> >> indicated, but you get the effect, and with all the 
> violins, violas,  
> >> and celli doing it, you certainly get the effect, if not 
> >> note-for-note  
> >> what's written in the score...
> >>
> >> ng
> >>
> >>     
> >
> >
> > Hmmm.  To me, this certainly doesn't seem satisfactory on 
> any level.  
> > It certainly doesn't 'get the effect', because starting on 
> the octave 
> > harmonic (whichever string) makes it possible to have each harmonic 
> > ring out quite clearly, as is the case with the various 
> other harmonic 
> > glissandos in the lower strings.  And I'm not quite sure whether 
> > getting up to the notated top note in the 1910 version 
> would even be 
> > physically possible, either because of the necessary reach with the 
> > hand, or because it's going to collide with the bow.  As 
> for glissing 
> > down, this creates a different effect again, certainly not 
> one which 
> > could be claimed to pass for the scordatura.
> >
> >
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> >
> >
> >   
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