Harmonics notation for violins

Hi, I need to know how I can produce the notation that is shown in the picture in Dorico. I can stack three notes on top of each other, all right, but I tried for too long to change the note heads in the desired way without succeeding. Hence the question if anybody has an idea how to make it look like in the picture?
![Bildschirmfoto 2022-07-05 um 10.52.20|619x500](upload://2Ej2J0MZSusCS


Isn’t this only tutorial information? Violinists do not need the actual note sounded as they know it, unless they are rank beginners.

Perhaps you just want to reproduce this chart?
But since you asked and you may have your reasons, consider the artificial ones.


It’s easy. Use Chords Mode to enter the three notes. In the Properties panel make the C an artificial harmonic. Scale the top G to be cue size, or whatever you desire. Then use the Brackets property on the high note.

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Thank you Andro! That helps. I don´t know much about this - obviously. But that is what a tutor told me to do - it´s a film score I´m working on, so maybe that these session orchestras have different habits and want everything super-clear? But I´ll give it a shot with your advice!! Thanks!

Also, some composers have in fact used this notation, and one’s assignment might be to reproduce the elements of the original score as they stood.

based on the guide sheet - artificial or natural harmonics - the top note in parentheses is the SOUNDING note. not necessary for most players. this is a good reference if you want the player to play for example a C5 as harmonic - some are easier to play than others and as you’ll notice there are multiple ways to achieve the same harmonic pitch.

The notation had its vogue in the early 20th century with composers who found it absurd that, with two notes used to notate each pitch, neither indicated the actual sound. There is some force in that, but this solution seems even worse. It seemed so to Cecil Forsyth in 1910, who pointed out the overload of using 3 notes to indicate each note played. And Norman Del Mar pointed out the agonies caused by that top (sounding) note, which generally required either (1) a vast number of leger lines, (2) an 8va which had to be clarified as not applying to the lower notes, or (3) an absurd and ungrammatical separate clef that applied only to the top note. All three were tried at various times, unwieldy though they were.

A better option, if one wanted to include the sounding pitch (for pedagogical or illustrative purposes, or perhaps in a long passage of nothing but harmonics) might have been to frankly use a second smaller ossia staff, on which the desired sounds could be intelligibly shown.