String Harmonics

When an instrument plays a single note, a set of frequencies are heard. Instead of each being heard individually however, these pitches or "harmonics" are blended together, giving colour to the fundemental tone. If for example a violin plays a middle C, the vibration of the whole string produces the fundemental tone (C). However, the string also vibrates in halves producing the second harmonic, thirds producing the third harmonic, quarters producing the fourth harmonic etc. The same applies to the vibration of an air column in a wind instrument. The difference between the timbres of instruments is largely dependent upon the relative volume of the different harmonics they produce. On a clarinet for example, the odd numbered harmonics are strongest. For any fundamental, the relationship between the different frequencies (in musical terms, the intervals) will remain the same. The order of intervals from the fundemental are shown in the diagram. Note: the diagram shows the first twelve harmonics but the actual harmonic series is infinate.

String harmonics have a very special thin, ghost-like timbre. In order to produce pitches above the open string, a string player will "stop" or temporarily shorten the string with his finger, thus creating a higher fundamental (and a new harmonic series). However, if instead of holding his finger down tight on the string, he touches it very lightly, the length of the string will not change but a "harmonic" will be produced because the string will only vibrate at the frequencies that have a node (places where the string cannot vibrate) at that point. For example, a string touched at midpoint can only vibrate at the frequencies that have a node there so it will sound as a harmonic and one octave higher than the open string.

2nd Harmonic) Lightly touching an octave above the open string produces a harmonic one octave above the open string (the same pitch as is fingered).

3rd Harmonic) Lightly touching a perfect fifth a above the open string produces a harmonic an octave plus a fifth above the open string.

4th Harmonic) Lightly touching a perfect fourth above the open string produces a harmonic two octaves above the open string.

5th Harmonic) Lightly touchiing a major third or major sixth above the open string produces a harmonic two octaves plus a major third a above the open string.

6th Harmonic) Lightly touching a minor third above the open string produces a harmonic two octaves plus a fifth above the open string.

Normally these are the only "natural" harmonics that are practicle. On a violin the 6th harmonic may not be very "safe" (depending upon the player). Harmonics speak very well on the double bass and higher harmonics are achievable on this instrument.

"Artificial" harmonics are produced by fingering a note as normal (creating a new string length) and lightly touching the string at a point higher than this (to produce a harmonic on the "new" string). For example, if a violinist fingers a B and lightly touches a perfect fourth higher (an E), the resulting sound will be harmonic two octaves above the fingered B. Normally 4th harmonics are the most practicle and often the only option. 5ths may prove too large a stretch (although they are possible on some positions of the violin and on the cello if the thumb is used) and 3rd harmonics generally do not speak well enough (except on the double bass).