At 3:49 PM -0500 12/13/10, Dennis Bathory-Kitsz wrote:
How can string players learn a fairly vast repertoire of fingerings,
positions, and techniques during their careers -- techniques that are played
just from the "what" on the sheet music -- but for harmonics they have to be
told "how"? I quit
Hi Dennis,
Guitarists are used to seeing just the circle notation (the "what") for
harmonics. String players are used to seeing the diamonds (the "how") so for
sight-reading purposes they don't all have the reflexes to figure out harmonics
on the fly.
Cheers,
- DJA
-
WEB: http://www.secre
On Mon, December 13, 2010 3:30 pm, John Howell wrote:
> In my opinion, and for artificial harmonics, it would be indicating
> the fretting finger and the touching finger with solid/diamond notes.
> That is a specific instruction for a specific action, instantly
> recognizable and playable. For nat
At 1:38 PM -0500 12/13/10, Christopher Smith wrote:
And what WOULD that be (the notation that is exactly what to do
without roadblocks), when trying to notate harmonics clearly?
In my opinion, and for artificial harmonics, it would be indicating
the fretting finger and the touching finger wi
On 13 Dec 2010, at 1:38 PM, Christopher Smith wrote:
> And what WOULD that be (the notation that is exactly what to do without
> roadblocks), when trying to notate harmonics clearly?
Generally, the "touch fourth" diamond notation for artificial harmonics.
It's widely and instantly understood,
On Mon Dec 13, at MondayDec 13 12:03 PM, John Howell wrote:
> So I guess I'm advocating the principal of KISS: Always choose notation that
> tells the player exactly what to do, or comes as close as possible given the
> limitations of our notational system. Do not deliberately erect roadblock
Unless you wish to use the particular intonation and tone quality of
individual natural harmonics — in which case the open string and a diamond
at the interval consistant with the partial node should be notated — then
the circle above the desired pitch is sufficient.
Daniel Wolf
__
On 12/13/2010 12:03 PM, John Howell wrote:
of natural harmonics that we've been seeing for years. It therefore
throws the player into an intellectual mode, where we have to stop
and figure out how to produce it. And that takes time, which a
symphony player will have, but a gigging player will n
At 10:18 PM -0500 12/12/10, Aaron Sherber wrote:
But isn't that an advantage of just using the circle notation? It
indicates to the player the desired pitch and the fact that it
should be a harmonic, and leaves the details to the player.
Boy, is that ever a hard question to answer! Let me p
On 12/12/2010 9:34 PM, John Howell wrote:
That is ALMOST correct, but incomplete. The harmonic of the 4th (the
fretted note plus a diamond note a 4th above) produces the harmonic 2
octaves above the fretted note. But artificial harmonics include the
harmonic of the 5th as well ...
Yes, I word
well
To: finale@shsu.edu
Sent: Sunday, December 12, 2010 6:34 PM
Subject: Re: [Finale] {Spam} String harmonics
At 5:54 PM -0500 12/12/10, Aaron Sherber wrote:
>Hi all,
>
>In notating string harmonics, Forsyth and Gardner Read say that a
>notehead with an o over it indicat
At 5:54 PM -0500 12/12/10, Aaron Sherber wrote:
Hi all,
In notating string harmonics, Forsyth and Gardner Read say that a
notehead with an o over it indicates a natural harmonic, while a
notehead with a diamond notehead a fourth above should be used for
artificial harmonics.
That is ALMOST
My 2c from being a composer and very-ex-string-player:
For orchestral/large chamber writing, I've come to the conclusion that
apart from octave harmonics, I write them all as tablature markings with
diamond shaped noteheads. Even natural harmonics at the fifth, fourth
etc. Otherwise (in my e
Hi all,
In notating string harmonics, Forsyth and Gardner Read say that a
notehead with an o over it indicates a natural harmonic, while a
notehead with a diamond notehead a fourth above should be used for
artificial harmonics. Del Mar, though, says that "according to one
school of thought" i
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