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https://andrewhugill.com/manuals/violin/harmonics.html I usually use this website to check with the harmomics stuff on strings, as I'm no string player myself. Henry

I've been playing violin/viola for over 20 years now and I still find it hard to describe harmonics, lol. There's like a whole physics lecture behind them and most of it goes over my head Basically, there are two kinds of string harmonics: natural and artificial. In short, natural harmonics occur when the player lightly touches a point on the string to produce the harmonic tone. These are a little confusing to notate since what one might see on the page isn't necessarily the pitch heard. I In the example above, it's basically telling the player to lightly touch the note where the player would normally play the E on the open G string. This will produce the B harmonic (as notated in the parenthesis). Some composers might just notate the diamond note on the E, and not have the G...players will know what to do. . Artificial harmonics are a little easier to notate. In the example above, you're telling the player to press the string (in this case the G string...the IV means G string...but the B notated is only possible on the G string so it's redundant) with the 1st finger (the index finger), and then lightly touch with their pinky finger a fourth above (if the player presses hard with their pinky finger, the note produced will be an E). The resulting pitch will be a B, but a harmonic that sounds 2 octaves higher than notated. These perfect 4th harmonics are pretty much standard in orchestral repertoire and will always produce the lower regular note 2 octaves higher than notated. Obviously, you can't do these harmonics on open strings, there always has to be a stopped note. Both examples above will produce the same B harmonic. The natural harmonic might be easier for players to play/find. Hopefully that made sense!

Having read the program notes page, I think you capture the atmosphere of some of the themes (ie. betrayal, turbulence) you mentioned. It would be interesting to hear the rest of the soundtrack to see how the themes/motifs you have here develop. Though, I gotta be honest...film scores lately have a very generic sound to them and this (for me anyways) falls in that category. Some things musical things from the score I noticed: The way these harmonics are notated is confusing. I'm saying that as a string player. Some 2nd violinists might think you want an open E string, which I'm pretty sure you don't want. If these are actual sounding pitches, the 1st violinist would have an easier time understanding these notations (one is a natural harmonic, the other is an artificial....don't really have a preference): The 2nd violin note (if that is the sounding pitch) is impossible to play as a harmonic on a violin. As I said, players would probably play an open E string. The viola one looks alright, it'll be a natural harmonic on the G string. Saw this in the score a couple of times. Wondering if you could move the pp before the barline to avoid those awkward looking measures with rests. Overall, there seems to be over-reliance on doublings between instrument groups. E to the end is the prime example. I think most of the wind/brass instruments can drop out at 47 for a quieter ending. Also that section felt a little...static? Could use some more rhythmic drive (maybe bring back the bass guitar/cello figure from the beginning?) or just some counterpoint.