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STRING WRITING Slurs indicate bow changes. Only provide up-bow (≤) and down-bow

STRING WRITING Slurs indicate bow changes. Only provide up-bow (≤) and down-bow (≥) symbols if they are not obvious to the player. String indications: you can indicate a note or passage is to be played on a speciﬁc string in two ways: 1) using ‘sul’ notation (e.g. ’sul G’); or 2) Roman numeral indications — I, II, III, IV — from highest to lowest. Make sure it’s clear how long the string indication lasts for (you might use a bracket.Only use string indications if one of the following applies: — you’re using a diamond-head natural harmonic (see below); — you have a downward glissando that ‘crosses over’ the pitch of an open string; — you want to specify a string for colouristic reasons (e.g. playing in high positions); — the desired string is not immediately obvious (e.g. to indicate a tremolo between two strings). Multiple stops can be difficult to write well if you’re not a string player. A general rule is: any double stop that includes an open string is easy. Otherwise, intervals from a semitone to an octave are possible, but ﬁfths can be awkward and hard to get in tune. Sixths are the most comfortable. Avoid fast changes between multiple-stops. Check them with a performer. STRING HARMONICS There are two main methods of producing harmonics on string instruments: natural and false (or artiﬁcial). Natural harmonics are played with one ﬁnger; false with two. NATURAL HARMONICS are created by lightly touching the string with one ﬁnger of the left hand, which will produce a member of the harmonic series, with the fundamental pitch of the open string. There are two ways to notate natural harmonics, depending on the chosen harmonic: — If the sounding pitch is the same as the ﬁngered pitch (which is always true for the octave harmonic), then write the note as usual, but with a harmonic circle (°) above it — If the sounding pitch is different from the ﬁngered pitch (which is often true for any other harmonic) then write the ﬁngered pitch with a hollow diamond notehead, and provide a string indication (see b–d below). If the duration of the note is unclear, you can include the open string pitch in brackets underneath. Natural harmonics are usually created at one of the following positions (examples given for violin, IV-III-II-I) a) touch 8ve above open string sounds at 8ve above open string (= 2nd harmonic) b) touch perfect 5th above open string sounds 8ve + 5th above open string (= 3rd harmonic) c) touch perfect 4th above open string sounds 2 8ves above open string (= 4th harmonic) d) touch maj 3rd above open string sounds 2 8ves+maj 3rd above open string (= 5th) NZSM Guide to Music Notation 2016 Page "15 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - & o o o Sounding: & Sounding: œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ œ œ œ O œ O # ˙ O œ n œ # ˙ 3 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - & o o o Sounding: & œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ œ œ œ O œ O # ˙ O œ n œ # ˙ 3 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - & o o o Sounding: & œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ œ œ œ œ # ˙ œ n œ # ˙ 3 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ œ œ 3 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - & o o o Sounding: & o Sounding: œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ œ œ œ O œ O # ˙ O œ n œ # ˙ 3 mf mf f f & > > & — > – > & . > - > - & . . > - > - . & & (Violin) o o o o Sounding: & & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & IV (Violin) III II I Sounding: & ” “ & - - - - Sounding: & - - - - & o o o Sounding: & œ Œ ‰ œ J Œ œ Œ ‰ œ J Œ œj ˙ œ œj œj œ™ œ J œ œj œ ˙ œ œ™œj œj œ™ œj œ œj Ó œ œ œ œ œ œ œ œ O O O O œ œ œ œ O O O O œ œ œ œ O O # O # O # œ n œ # œ # œ # œ O œ O b œ O O œ œ œ uploads/Geographie/ string-harmonics-guide 1 .pdf