Artificial Harmonic

What it is

An artificial harmonic is produced by stopping the string firmly with one finger, creating an artificially shortened string, and touching that shortened string lightly at a node point with another finger. More of this kind of thing is in the left hand section.

The result is a harmonic on a pitch that is not available as a natural harmonic, which means harmonics become available on any note rather than only on the overtones of the open strings. Our free chromatic tuner helps with this between lessons.

The sound is the same pure, flute-like tone as a natural harmonic, though generally quieter and more fragile.

The fourth-above method

By far the most common form, and the one nearly all written artificial harmonics use.

The first finger presses the string firmly at the desired pitch. The fourth finger touches lightly a perfect fourth above.

The resulting harmonic sounds two octaves above the stopped note.

So a first finger on A with a fourth finger touching D produces A two octaves higher. The player thinks of the stopped note and knows the harmonic will sound two octaves up.

Other intervals

A fifth above produces an octave and a fifth above the stopped note. Used occasionally.

A third above produces two octaves and a third. Rare, because the stretch is small and the harmonic is fragile.

An octave above produces one octave above. Rarely used because a normal stopped note in that position achieves the same pitch more reliably.

The fourth is standard because the stretch is comfortable, the harmonic speaks well, and the two-octave relationship is easy to calculate.

How it is notated

Two note heads on one stem. The lower is a normal note head showing where the first finger presses. The upper is a diamond showing where the fourth finger touches.

Some editions add a third note head, usually small and in parentheses, showing the pitch that actually sounds.

The diamond note head is the reliable indicator. Where a passage shows normal and diamond heads paired, it is an artificial harmonic.

What goes wrong

Uneven pressure. The first finger must press firmly and the fourth must touch lightly. Students often press with both, producing a normal note, or touch with both, producing nothing.

Intonation of the interval. The perfect fourth must be accurate. Slightly off and the harmonic will not speak or will speak roughly. This is harder than it sounds, because both fingers are moving.

Hand stretch. The fourth is a wide reach for some hands, particularly in low positions where the spacing is wider. In high positions it becomes easier.

Bow. As with natural harmonics, artificial harmonics need a fast, light bow near the bridge. Most failures to speak are bow failures.

Passages of them. Individual artificial harmonics are manageable. A scale or melody in artificial harmonics, where both fingers must move in parallel and stay a perfect fourth apart, is genuinely difficult.

Moving passages

The hardest application.

A melody in artificial harmonics requires the hand to shift while maintaining the exact interval between the two fingers. If the interval changes even slightly during the shift, the harmonic fails.

This demands a very stable hand frame and accurate parallel movement, and it is one of the more demanding things in the advanced repertoire.

Composers who write such passages know they are difficult and generally do so deliberately, for the ethereal effect of a whole melody in harmonics.

Where you meet it

Advanced solo repertoire, particularly from the Romantic period onward.

Virtuoso showpieces frequently use them.

Contemporary writing uses them extensively.

Orchestral parts occasionally, usually as isolated notes rather than passages.

Students meet them at the advanced level, after natural harmonics are secure and the hand frame is stable.

How it is taught

We start with a single artificial harmonic in a comfortable position, working on the pressure difference between the two fingers.

Then the interval accuracy, checked slowly.

Then the bow, which is usually the missing piece.

Then different positions, since the stretch changes as the hand moves.

Then moving passages, slowly, which is a long project.

Artificial harmonics are a technique where progress is binary in a frustrating way: the harmonic either speaks or it does not, with little middle ground, which makes early practice discouraging. Students should know this in advance.

The interval must stay exact

In a moving passage, the two fingers must travel together while maintaining a perfect fourth between them.

Any change in that interval during a shift causes the harmonic to fail, and it fails completely rather than sounding slightly wrong. There is no partial success.

This makes moving artificial harmonic passages among the least forgiving things in the repertoire, and it is why they are used sparingly even by composers who like the effect.

Practising them

Single harmonics first, in a comfortable position, working on the pressure difference between the firm first finger and the light fourth.

Then the bow, which is usually the missing piece when a harmonic will not speak.

Then the same harmonic in several positions, since the stretch changes as the hand moves up.

Then moving between two artificial harmonics a step apart, which is where the parallel-movement skill develops.

Then passages, very slowly, over a long period.

Every new student starts by playing for us so we can see where left-hand work like Artificial Harmonic actually sits in their technique. Private and group violin lessons in Johns Creek, Suwanee and Dunwoody. book a no-commitment evaluation lesson, or call 470-789-2422.