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while reading bertram turetzky's 'the contemporary contrabass' i came across the term 'pulled harmonics'. bertram does not clearly explain what this is or how to excute it at all.

what he does write is, "...a technique that can raise all the natural harmonics a microtone, a semitone, or even more depending on the amount of tension on the string which is produced by PULLING it to the side at the node of the harmonic."

if it's the same as 'sliding harmonics' and not something else entirely then i'm really confused.

can anybody clear this up for me? 68, i'm looking to you buddy.

This is something I have never encountered before but the description is clear. Not a sliding harmonic, rather a technique that increases the tension (and pitch) of the harmonic node by pulling (or pushing) the string sideways at the node. Similar to guitar vibrato but not pressed against the fingerboard (or fret). As with guitar vibrato this technique allows an increase in pitch (by adding tension) but not a decrease.

I tried this on electric bass, there is not enough room to get my finger properly placed to execute a side pull at a harmonic node except beyond the fingerboard in the P/U area. Unfortunately good nodes are sparse in this zone of the instrument.

On upright bass that is set-up with fairly high action I'm sure that sufficient room to execute a harmonic side pull exists at most locations.

Another thing I noticed is that the effort required to do this causes the flesh of the finger to dampen the string so the sustain of the harmonic note is seriously reduced. All in all, the technique seems to have rare application potential. Sliding harmonics are (in my opinion) easier to execute, have better control, and sound clearer.

For those wondering, what is a "Sliding Harmonic"? A sliding Harmonic is where you play a normal harmonic, then immediately press the finger to the fingerboard and slide the note up or down. Identical in concept to a Glissando except the note is a harmonic instead of a normally executed pluck.

Another concept facilitating greater expression through harmonics is False Harmonics. This subject is an entirely different topic so beyond the scope of this post.

thanks 68. ironically sliding harmonics is the only technique not coverd in the book which is otherwise very thorough; including an example that has the preformer put an evening dress on the double bass and later undress it and get in bed with the insturment. this is not a joke...it's really in there.

one technique i'm currently struggling with is bowing the E and G string from behind the strings. this allows for root w/ 10th double stops but the bow wants to pivot on just one string.

i keep the action pretty high so i'll try to pull some harmonics but sliding harmonics work on the double bass just fine.

false harmonics.

is that stopping the string with the left hand-and with the right using the side of the thumb to lightly touch at the 'false' harmonic while pulling the string with the fingers behind the thumb? if it's not then what's that called?

something else that came up in 'the contemporary contrabass' is generating the sound between the nut and stop. whats cool about this is the relationship between the nut side and bridge side has a natrural flow as you move around the neck. if someone where to piezo the head stock they could really explore it and open some new possiblites for soloing.