**Last week I fell off my bike and split my chin. Today the glue reopened, and to my dismay, tomorrow I will fly to New York for the first time with a huge bandage on my face. (And yes – definitely first world problems). **

*In other news, that tiny anecdote is completely irrelevant to the main subject of this post:*

#### // Mark Dresser has written a wonderful resource to accompany his CD/DVD entitled ‘GUTS’, which superbly explains many of the extended techniques that have become known to the double bass. In contrast to the other articles and writings that have been reviewed and discussed in my research so far, this piece of Dresser’s writing was intended for a presentation in which he also provides accompanying scores and notations to solidify his points.

Before I continue to delve deeper into the many parts of this valuable resource, I have chosen to start by briefly summarising Dresser’s introductory paragraph in ‘GUTS’, which explains the meaning of the **harmonic series** in a refreshingly simplistic way. Read for my summation below:

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The** harmonic series** are ‘a natural phenomena of string vibration’ (2010, Dresser, P. 1), whereby the vibration of a string occurs in measured whole number multiples of the fundamental pitch; hence **the string is divided into a certain number of equal subdivisions** to produce different partials.

—> Adding to my current exploration in the world of partials, I have summarised a few of Dresser’s key points below:

1. **T****he number of the partial indicates the number of subdivisions in which the string is vibrating**.

—> For example – the **2nd **partial on the G string directly divides the string into two, creating two equal distances of vibration. In this process, the frequency also doubles from 100Hz (G open string) to 200Hz.

—>Let’s take the **5th **partial (‘B’ harmonic on the G string) as another example of this – it divides the string into five equal subdivisions.

**2. Partial Number (minus) – 1 = The number of nodes **

—> For example – **Partial 4** indicates that there are** 3** nodes on which to play this harmonic on any given open string. **Partial 7** indicates that there are **6** nodes on which to play this harmonic on any given open string.

**3. As a partial number doubles, the pitch moves up an octave**

—> For example – **Partial 1 **= Open G String, **Partial 2 **= G harmonic an octave higher, **Partial 4** = G harmonic an octave higher, **Partial 8** = G harmonic an octave higher, **Partial 16 **= G harmonic an octave higher.

// In terms of the relevance of this science (however intimidating it may seem!), Dresser insists that the knowledge of the nodal locations is a key factor in improving intonation, bow placement, finger placement and a broader knowledge of timbral scope. To develop a solid comprehension of the harmonic series on the double bass is an invaluable tool in strengthening the understanding of the instrument as a whole.

**This is only a fraction of information available from this resource, with much more to come. // **