Therefore I see no way that you could have all 3 string pitches at once.
whoa there cowboy, that was never the intention!
You could have Bb/B natural or you could have B natural/B#. But it
isn't as simple as producing two different pitches, because neither
pitch would be clean and obvious, since they're both produced by the
same string. But yes, it would be a combined sound along with the
buzz.
this is not eggzackly what i was getting on about, i was talking
about one pitch with buzz; the question had to do with how much
control was possible on that one pitch.
i am thinking -- in fact proposing -- that using a 1/4 sharp or 1/4
flat (maybe plus the Z-buzz symbol) would make sense as the
standard notation that should be used for this.
There are no quarter-steps possible on a harp, at least without
hand-fretting a single string, and I don't know whether that's even
possible.
my point was that 1/4 tone accis could possibly be understood as a
half position between the standard half tone positions.
1/4 tones can in fact be played on the harp by stopping any string
with the tuning key (plus timbral alteration), but we're talking
pedals here...
The basic mechanics don't allow it.
not as a sounding pitch (as i stated), but perhaps as the actual
mechanical gesture needed to produce the effect. and les seems to
have suggested it is in fact possible.
So harpists are not only not used to seeing such notation, I doubt
that they'd know how to interpret it.
this is not an issue for me if no standard notation exists anyways;
harpist/composers/copyists will simply need to agree to and get used
to a standardized notation for the effect (as i said, if one does not
already exist). but before we conclude that discussion we'll speak
to some harpists!
The question seems to be which effect is more important to you: the
buzz of the string against the frets, or sounding 2 pitches at once?
For the latter, it would be more normal to use 2 adjacent strings.
what is "important" may vary according to composer but it would seem
to me that the buzz would be the important thing, as the actual pitch
between the tempered stops cannot be controlled as well on this
instrument as on others (?).
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