Low nodes vs. High nodes

Edited: February 9, 2026, 7:35 AM · Until such time as someone better informed chips in, here's my two-pennorth.

High position best-sounding but a big stretch, first position most convenient but harder to get to speak. For the 5th harmonic of G the first node (closest to the nut) and fourth node are the most likely to be used, the second also on rare occasions. I doubt that I've ever used the third node.

A much better alternative would be to play the 4th harmonic of the open D-string using the first node.

February 9, 2026, 8:35 AM · I think the OP should compose his music then consult a violinist as to its playability.
Mention of B3 makes me think it's artificial harmonics that are in play here.

February 9, 2026, 8:53 AM · I don't think so. The 5th harmonic of the G string sounding B5 is where you'd stop the string for B3.

February 9, 2026, 11:16 AM · Yes, I was talking about the four different node choices for the 5th harmonic.

Edited: February 9, 2026, 1:25 PM · Yes, I miscounted how many octaves up the third was.

Low position offers easier fingering. Bowing the right distance from the bridge is important.

Edited: February 9, 2026, 10:25 PM · I think I was watching a YouTube video with Janine Jansen and she was performing an encore (Meditation from Thais) that finished with a harmonic, and she used the low fingering. I was kind of surprised by that. It just seemed lazy to me, and in all other respects Jansen seems anything but lazy!! Mutter's video uses the high fingering. One thing the low fingering gives you is a longer string length, which is maybe more forgiving when you want to play the note very softly. Perhaps this was Jansen's reasoning; I guess we'll never know.

Edited: February 10, 2026, 4:15 PM · Harmonics on any string;

1st harmonic (octave)- no choice
2nd & 3rd - high or low, depending on the technical context -be safe.
4th-- 3rd finger, 3rd position
5th & 6th --they sound flat and are unreliable- go to a different string or use fingered harmonics instead. Composers whose name is Not Paganini should not write them.

February 9, 2026, 10:26 PM · The "E" harmonic in the CM solo of Scheherazade always sounded flat to me. I wonder how violinists deal with that.

February 10, 2026, 12:00 AM · Yes, the last high E harmonic in Scheherazade sounds flat compared to the chords in the wind section. What I did was tune the open E a little sharp during the break right before the last movement. Some of that is because our perceived pitch to frequency is not perfectly linear in the high octaves. Piano tuners compensate for that with "stretched tuning" The brass section will avoid using the 7th (or is it the 6th ?) overtone because it out of tune, I think in between the major and minor third.

February 10, 2026, 8:51 AM · joel, what's the meaning of this numbering system (10, 20, 30, 40, 50, 60)?

Edited: February 10, 2026, 11:36 AM · Joel, what about playing that last E harmonic as touch-5th instead, on A–E, where you can adjust the intonation?

Is it because of the position or something else?

February 10, 2026, 1:55 PM · False harmonics do not ring like natural harmonics, and playing that high E as a fingered harmonic would absolutely destroy the intended effect.

February 10, 2026, 2:41 PM · Mary, thanks for the clarification. Touch choices with harmonics sometimes I guess.

February 10, 2026, 4:14 PM · @jean, sorry, I should have written 1st harmonic, 2nd, etc.

February 10, 2026, 10:08 PM · Better? There are no rules. In most cases they can be considered equivalent, but playing harmonics near the end of the fingerboard wins points for showmanship.

February 11, 2026, 4:44 PM · Another reason to play those harmonics closer to the bridge--The optimum point of contact of the bow hair is proportional to the vibrating string length (I have read 1/9, but who's measuring?) We learn to pull the bow close to the bridge for notes in the upper positions. If you use the lower node there is a danger that you would place the bow hair at a sul tasto spot, which would stop the vibration. In general; try to play harmonics louder, with more force, and almost ponticello.