In my catalogue, I propose multiphonic fingerings for violin and viola transposed and/or adjusted from the ones proposed for the cello in Ellen Fallowfield’s cellomap.com, as well as newly added ones through my own experimentation.

     For every multiphonic, 2 possible fingerings exist (one in the upper end of the string and another in the lower end of the string). However, my focus in this catalogue is exclusively on the fingerings located in the lower end of the string - due of their similarity to artificial harmonics, I expect these fingerings to prove the most useful for composers and interpreters, as they are the only fingerings transposable to be used as artificial multiphonics.

    In my catalogue I propose specific contact points of the bow on the string (usually several different ones) for each multiphonic, as well as a specific range (minimum-maximum) of bow pressure and bow speed for each of these pairs of multiphonic fingering and contact point. Through experimentation (although with a limited number of instruments), one observes that these parameters can be, for the most part, universally applied to any instrument for the successful production of multiphonics.

    There are, however, fringe cases related to the instruments themselves and it should be clear that this catalogue is incomplete and a work in progress. There are differences in the production of multiphonics from instrument to instrument that are alien to the player: in some rare cases, some of the multiphonic+contact point pairs might not work at all in some instruments while working effortlessly in others. There is not enough empirical data in the present to make an accurate assessment of the connection of multiphonic responsiveness according to specific variations in instruments such as age and general quality of the instrument, as well as strings & rosin used, and other further instrument setup details.