Higher Harmonics Notation Question (For Cello)

I want to write a very high (natural) harmonic for cello, and I want to check the proper notation here.

It's the 8th harmonic, thus 3octaves above the open string. I think thediamondshaped notehas to be a second plus an halve sharp above my open string G. is that right?

I tried this on a guitar, since I have no cello at hand, but the 7th harmonic (the false 7th) is also somewhere in between the m3 and the M2, so I dont know how to propperly notate it in quarter tones...

For clarity sake an oveview

harmonic at perfct fourth is adding 2 octave (1/4th string)

at major 3rd is adding 2 octave and a M3 (5th harmonic)

at minor 3rd is adding 2 octave and P5 (6th harmonic)

at minor 3rd minus something is adding 2oct and a false 7th (7th harmonic)

at Major 2nd plus something is adding 3 oct. (8th harmonic, the one I want)

at exacltly Major 2nd results in the 10th harmonic, 3 octave and a M3

EDIT: I add an picture what I think is the proper notation, please confirm or deny. It is in the second measure below, an harmonic glis from the 5th harmonic to the 8th

That sounds complicated, but the Cello has always struck me as an interesting instrument.

A diamond-shaped notehead is not the correct notation for a natural harmonic. What you have written here are artificial harmonics which will sound two octaves above the pitch of the normal (lower) notehead. Natural harmonics are notated by writing a small circle above the note to be touched lightly. They can only be used for notes within the harmonic series of the string, but the same harmonic may be available in several places and it is generally best to let the player work out the most practical string on which to play each one. Artificial harmonics touched at the third and fifth are not as successful on the cello as on the violin and viola.

The passage you show is just about playable but quite difficult. If you mean to write artificial harmonics here, the player must move their entire left hand to a different position for every note and be able to tune it accurately.

thanks simon for your response. I am glad you call this passage 'about playable', for a cello concerto that sounds about right ;)

I know the old harmonic notation with a small circle above the note. But I thought that was not used so much anymore, because it is unclear on whcih string to play the harmonic. Therefore, the harmonic with the D and G as base notes are de facto natural harmonics, while the others are artificial. Does this need to be made more clear? I had hoped this was the clearest way of notation.

I understand that if the D was an artificial harmonic, it ought to be played on the G string and requires the hand to move, but this is not my intent.

The main question however was not about these harmonics but about the harmonic glisando, on the g string. from B to high G, i.e. from major third (sounding 2 oct and a major 3rd higher, to ??quartal-second, sounding the G 3 octaves above the open string G.

Is this playable, and written propperly?

"at minor 3rd is adding 2 octave and P5 (6th harmonic)

at minor 3rd minus something is adding 2oct and a false 7th (7th harmonic)

at Major 2nd plus something is adding 3 oct. (8th harmonic, the one I want)"

these things are very unstable!! don't use them! Use the natural harmonics, and the 4rd fingering (what's written in your piece too)

These high things are very hard to find in a sec, after an other non-natural harmonic. of course if the harmonics are natural, you can have a glissando between them.

I don't know, if I understood and answered your question :)

Cheers,

Marcell

sorry to open a new thread. I am also having this problem of notation.

The quarter tone seems like a good idea to notate that it is slightly above or below a note, shame no one really confirmed whether this was ambiguous or not. My notation had the sounding pitch written in brackets as well, i'm considering writing that 8va, but for the player that doesn't immediately understand which harmonics link to others, I think i must use the quarter tones to distinguish it.

I don't think they are that hard to play. It may be because i'm an electric guitarist (as well as cellist)who has encountered many songs using the 7th, its possibly more common than on cello. Where the bow is sometimes figures in stability, and you can also produce harmonics playing sul ponticelli without fingering any note if a player had some interest they'd likely try and practice things like this, its a lot easier that bach suites(if i can do it, when i can't play the suites)! but most don't have an interest simply!

Use the natural harmonics, and the 4rd fingering