Stephen Kenyon wrote: ↑
Sat Jun 02, 2018 9:58 pm
Yes a string marking, just one is needed, and is better than (10th fret
) because one is looking out for that kind of standard instruction, not that kind of text. One could also use a position marking of IX - which is implied.
Other things that brought me up short were the need to CIII in m8 etc - I'd put a preparatory CIII at the start of the measure.
I stumbled at m 9 thinking the C was meant to be on string 3 - putting that footnote is perfectly explanatory but the best is to aim to be sufficiently clear within the body of the music itself. In this kind of situation, where your fingering is sliding along, to put a little line indicating a guide finger movement - in this case it would be on the 4.
In m 17 I didn't read ahead enough to get the CII required, so again would add that at the start.
End of m 24 putting V is better than (5th fret)
Can't see the point in ending differently than mm 1-2 but if you want that, its clear enough, but more usual to put 'Art Harm' and maybe the string number to prevent misunderstanding it being on the B string - some harmonics are notated that way.
All above is as per my principle that what's best is what helps me sight read perfectly first time - not that I usually can, but the idea is the score helps rather than not.
Thanks - I also had the "slide lines" (guide finger) between notes (which are easy enough to re-enter)!
I guess I went too far the wrong way in trying to "simplify" it.
Actually, when you're saying "CIII" I assume you mean Barre, but one doesn't "need" to do it, and "shouldn't" do it based on the given fingering and the performance note.
Back in 2015, someone said that it's not in fact an Artificial Harmonic (which is what I had before) it's just played with the plucking hand rather than the fretting hand, so is still an open string node so that would be incorrect notation as well.