Left hand finger positions

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Left hand finger positions
Semitonic, Quartertonic and Artificial multiphonics
We can organize the second-class of multiphonics, where the bow is situated closer to the bridge than the left
hand, in three general groups of left-hand finger positions. Each group is clearly defined through its own
characteristics of sound and playability.
1. Semitonic multiphonics. Played with fingers in a natural chromatic scale related position. Multiphonics is
created by manipulating bow placement, bow pressure and bow speed. This is the most common way of
producing a multiphonic sound.
2. Quartertonic multiphonics. Played with quartertone finger position. Multiphonics is either created on the
corresponding harmonic, as with semitonic multiphonics, or by the interference between neighbouring
harmonics. Generally, light bow pressure and fast bow speed is needed to create this type of multiphonics.
Manipulations of left-hand finger pressure can greatly enhance certain partials in the cord or make the
fundamental tone more present.
3. Artificial multiphonics. This type can be played both as a semitonic multiphonics and as a quartertonic
multiphonics. Semitonic artificial multiphonics can be produced with the artificial harmonics of major
seconds, minor and major thirds and augmented fourths. Artificial multiphonics of major seconds, minor and
major thirds are best performed in the lower positions and they get gradually more difficult to control in the
higher positions (above the first thumb position). Artificial multiphonics of augmented fourths is best
performed from the 4
th
or 5
th
position and upwards (because of the stretching of the fingers). Quartertonic
artificial multiphonics is produced with the finger lightly touching the string at a distance of a fourth
diminished of a quartertone from the depressed thumb. The sound is then coloured by the interference of
the neighbouring harmonics/partials. Glissando is possible with artificial multiphonics.
Notation of finger positions for 2.class multiphonics (Semitonic, quartertonic and
artificial multiphonics)
Multiphonics is always notated with the harmonic diamond sign, in tablature notation indicating finger positions
rather than musical pitches. I suggest using the symbol M. above or below the note to indicate that it is a
multiphonic sound, together with the indication on which string to play the note (in Roman numerals).
Fig. 1. Examples of semitonic multiphonics
Fig. 2. Examples of quartertonic multiphonics
Fig. 3. Examples of artificial multiphonics
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Left hand finger positions
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Finger pressure
The realisation of certain multiphonics demands a specific left hand finger pressure technique. Variation of finger
pressure can in most cases create small changes in the colourisation of the sound due to a suppression or
reinforcement of certain overtones. Light finger pressure gives a stronger presence of the fundamental sound, but
at the same time it becomes more difficult to keep a totally stable sustained chord. I suggest using the abbreviation
l.f.p. (light finger pressure) for specifically indicating a light finger pressure.
Fig.4. Notation of finger pressure
Bow-above-finger multiphonics
For the first-class of multiphonics, the finger is positioned close to the end of the fingerboard or beyond the
fingerboard, between bow and bridge. Bow-above-finger multiphonics has generally greater dynamic potential than
other multiphonics, but comes with more limited possibilities of being combined with other playing techniques.
Notation of finger positions for first-class multiphonics (Bow-above-finger multiphonics)
I recommend using a symbol created by Stefano Scodanibbio for notating bow-above-finger multiphonics (see fig.
5).
Fig.5. Symbol for notating bow-above-finger multiphonics
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Left hand finger positions
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This symbol can either indicate a random finger position as shown in fig. 6, or a precise finger position as shown in
fig. 7 and 8.
Fig. 6. Stefano Scodanibbio: e/statico
Fig. 7. Hkon Thelin: oibbinadocS
Fig.8. Eivind Buene: Blacklight
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Left hand finger positions
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