Harmonics stuck on "orange"

Yes, but I agree with @Michel_Edward that it could also be some other technique to make it sound ghostly, or a combination of flageolet and normal fingure pressure (easy to do with octave flageolets), but flautando or even a little col legno…
More reason to write the sounding pitches, maybe add circles for harmonics and add also “ghostly” or similar as an indication?

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Yes I did not think D&G. Thanks again for your advice!

These will all produce the correct notes (and hopefully won’t offend @Michel_Edward). Your recording is without doubt harmonics (and I suspect either version 3 or 4)

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despite your inane comment, I am not “offended” by the OP’s original image.

I am offering a correction to incorrect notation, rather than blowing it off and saying “meh, I’d know what it meant so it doesn’t matter.”

how about from now on you ignore me, or comments I make, and stay out of my hair.

And I was hoping that nothing I posted would be regarded by you as “incorrect”.

There are many ways to (correctly) notate what I hear.

There’s no need to be offensive.

is version 3 or version 4 representing 2 simultaneous notes which would be written together on a stem?

No. If you start a harmonic, then move to another harmonic on the same string, the overtones will naturally create a subtle chord effect.

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Maybe not him but me :wink:
Since all notes are natural harmonics, notating them as artificial harmonics is usually not adviced. I am less harsh on this one but had violinists confused about these kind of things.

I think bar 2 would be the most appropriate for this case.