Natural Harmonic

What it is

A natural harmonic is produced by touching an open string very lightly at a specific point, without pressing it to the fingerboard, while bowing normally. Practising this is easier with the free chromatic tuner. The left hand section covers the rest of this group.

The result is a high, pure, flute-like tone quite different from a normal stopped note. There is no vibrato and the sound has a distinctive bell-like clarity.

The word flageolet is used interchangeably, particularly in French editions.

Why it works

A vibrating string does not only vibrate along its full length. It also vibrates in halves, thirds, quarters and so on, producing the overtone series that gives the instrument its tone colour.

Each of those subdivisions has points that stay still while the rest of the string moves. These are called nodes.

Touching the string lightly at a node suppresses the fundamental and the overtones that do not have a node there, leaving only those that do. The result is a single high pitch drawn from the overtone series.

Pressing the string would stop it entirely and produce a normal note. The touch must be light enough to damp without stopping.

Where the nodes are

The midpoint of the string produces the octave above the open string. This is the easiest to find and the most commonly used.

A third of the way along produces the octave and a fifth. There are two such points, and both give the same pitch.

A quarter of the way along produces two octaves above. Again two points.

A fifth of the way along produces two octaves and a major third.

Higher divisions produce higher and progressively quieter harmonics, and become harder to sound reliably.

On the violin the octave, twelfth and double octave harmonics are the practical ones. Higher ones exist but are rarely written.

How it is notated

A small circle above the note head indicates a harmonic.

For natural harmonics, the note written is usually the sounding pitch, with the circle indicating that it should be produced as a harmonic. Some editions instead write the point of contact as a diamond note head.

Practice varies and editions are inconsistent, which occasionally causes confusion about which pitch is intended.

What goes wrong

Pressing too hard. The harmonic stops and a normal note sounds. This is the most common fault and usually comes from the general habit of pressing.

Too light. No sound at all, or a whistling noise.

Wrong location. The node points are precise, and being slightly off produces a rough sound or nothing. Higher harmonics are less forgiving than the octave.

Bow problems. Harmonics need a specific bow approach: usually a slightly faster bow, less pressure, and a contact point closer to the bridge than a normal note. A harmonic that will not speak is often a bow problem, not a finger problem.

Vibrato. Harmonics cannot be given vibrato, and attempting it disturbs the node contact.

The bow

Underestimated. A correctly placed finger with a wrong bow produces no harmonic.

The bow should be near the bridge, moving reasonably fast, with light pressure. Slow heavy bowing over the fingerboard will not sound a harmonic even with perfect finger placement.

Students who cannot get harmonics to speak should adjust the bow before adjusting the finger.

Where you meet it

Common throughout the repertoire from the Classical period onward.

Very common in Romantic and modern writing, where harmonics are used for their particular colour.

Extremely common in contemporary music.

Also used practically, as reference points for finding high positions, which is a technical use rather than a musical one.

Students meet natural harmonics early, often as a novelty before they are formally taught, since the octave harmonic is easy to stumble upon.

How it is taught

We start with the octave harmonic at the midpoint, which is the easiest, and establish the light touch.

Then the bow adjustment, which is usually what makes it work.

Then the twelfth and double octave.

Then in repertoire.

Then their practical use as position landmarks, which is one of the more valuable things a student can take from them.

Practising them

The bow is the first thing to adjust, not the finger. A student who cannot sound a harmonic should try a faster, lighter bow closer to the bridge before assuming their finger placement is wrong.

Then the octave harmonic on each string, which is the easiest and establishes the light touch.

Then the twelfth and double octave.

Then finding them quickly, since in repertoire a harmonic often arrives with no time to search for it.

Harmonics as position landmarks

Beyond their musical use, harmonics are the most reliable navigation tool in the high register.

The octave harmonic at the midpoint of the string is unambiguous and easy to find. Positions above and below can be located relative to it, which is far more accurate than counting positions upward from first.

Advanced players use this constantly, often without thinking about it. Teaching it early gives students a tool they will use for the rest of their playing.

Most students pick left-hand work like Natural Harmonic up faster with weekly feedback than from any article. Private and group violin lessons are available in Buford, Duluth, Berkeley Lake and Brookhaven. Reach us on 470-789-2422 or book a no-commitment evaluation lesson.