Usually in the very early stages of the guitarist's learning process, one
of the first "tricks" he/she is taught is the use of harmonics, in
particular "natural harmonics." Unfortunately, many players think that
this technique is one dimensional and the experimentation stops there but
in this lesson you'll learn not only how to play different types of
harmonics but also how to also push the envelop and combine various other
techniques (or "tricks") to enhance your repertoire. Below is a breakdown
for several uses of harmonics, which range in difficulty from beginner to
advanced. The model we'll use to demonstrate this technique will be the
Emajor(add11) chord. In order to proceed to the next step, you should be
able to perform the previous step(s) with relative ease. Some of these
exercises sound better with a clean sound and some are easier to execute
with a distorted sound. Experiment and see what works best for you. Start
slow, get the technique underneath your fingers and then apply it. Here's
your Emaj(add11) chord to get you started:
1. Natural Harmonics: This technique is performed by gently placing the
fleshy part of the bottom of your fret hand index finger directly over the fretboard (as opposed to placing your fingers firmly on the fretboard
between the frets) and striking the open string. At the very moment the
string is played, remove your fret hand from the string. You should hear
the harmonic ring out. These harmonics work on any string at any fret but
most players use the
12th, 7th, 5th and 3rd frets to achieve this sound. Examples of "natural harmonics" can be found at the 02:36-02:38 mark of Stevie Ray Vaughan's version of "Little Wing" and the 00:17-00:19 mark of
the Black Crows' "She Talks To Angels."
See picture
example 1
for details.
2. Pinch Harmonics: Like all the other examples from hereon in, the key to
performing this type of harmonic successfully lies in your picking hand. While striking the string with the guitar pick placed firmly between your
index finger and thumb, tilt your picking hand ever so slightly towards
the strings, thus having the fleshy part of your thumb make contact with
the string at the same time as the guitar pick. If performed correctly, a
high pitched sound will
resonate. Try using this technique at various
parts of the string and you'll notice that it'll produce different
pitches. Examples of "pinch harmonics" can be found at the 01:29-01:31
mark of Ozzy Osbourne's "Mama, I'm Coming Home" and the 02:58-03:00 of
Steve Vai's "Juice."
See picture
example 2
for details.
3. Artificial Harmonics: This is the same exact concept as a "natural
harmonic" with the only difference being that you are now achieving the
harmonic with a fretted note instead of in the open position. The
important part to note in this technique is, once again, the use of your
picking hand. When fretting any chord (in the instance we'll use the
Emaj(add11) chord), place the pick between your middle finger and thumb
(or just use your thumb if you don't use a guitar pick) and now your index
finger will play the role as the harmonic producer. By gently placing the
tip of your index finger directly over the fret itself and simultaneously
picking the string, the artificial harmonic should sound. As is the case
with the previous
technique, "natural harmonics" can be played on any
string at any fret but will best be sounded by playing them 12, 7, 5 or 3
frets away from the desired fretted note. An example of an "artificial
harmonic" can be found during the outro of Shawn Lanes' "Epilogue (for
Lisa)."
See picture
example 3
for details.
4a. Harp Harmonics: By combining "artificial harmonics" with hybrid
picking (using your pick and fingers at the same time), you can emulate
the sound of a harp. In addition to using the previous technique, you will
now need to use the ring finger and/ or pinky finger of your picking hand
to play the non-harmonic notes. In using the Emaj(add11) chord, try
playing an "artificial harmonic" on the G string (13th fret) and then pick
the high E string (2nd fret) with your ring finger. Then continue on to
play the harmonic on the D string (14th fret) and follow that by picking
the B string (3rd fret) and so forth. When done at a
moderate
pace, you'll begin to hear your guitar mimicking the sound of harp.
Examples of "harp harmonics" can be found at the 01:05-01:08 mark of Eric
Johnson's "Manhattan" and the 04:34-04:37 mark of "Love In Misery" found
on my website.
See video
example 4a
for details.
4b. Harp Harmonics (alternate version): While the previous version of
"harp harmonics"
consisted of picking a fretted noted just after using an
"artificial harmonic," this technique is consists of playing the harmonic
and picking a fretted note simultaneously. For best results, try
skipping a string between the harmonic and natural note.
See video
example 4b
for details.
5. Tap Harmonics: This exercise doesn't necessarily build upon the
previous variations of harmonics but it also shouldn't be overlooked. When
fretting a chord, simply use one of your free fingers on your picking hand
to "tap" the string (using a flick of the wrist) 12, 5, 7 or 3 frets away
from the desired note of the chord. In most cases, players will use either
their index or middle finger to execute this. Similar to an "artificial
harmonic," you want to tap the
harmonic directly over the fret, not in
between the frets, for best results. Keep in mind that you can "tap" the
harmonics for whole chords as well. Examples of "tap harmonics" can be
found during the outro of Van Halen's "316" and the choruses of Joe
Satriani's "I Believe."
See video
example 5
for details.
6. Sweep Harmonics: This last technique takes the individual noted
sequence of "tap harmonics" and applies it to chord forms. The key to
mastering this trick is to be sure that when you strum the strings, the
fleshy part of your palm is 12, 7, 5 or 3 frets away from
where your fret
hand is placed. Again, in order for the notes to ring out, your palm
should be above the frets, not in between. Because most chord forms
span over the space of 3 or 4 frets, some notes may not ring perfectly but
it won't take away from the effect.
See video
example 6 for details.
I hope that these exercises keep you busy for some time. Please remember
to use these ideas not to showcase your chops but rather to help
compliment the song. Feel free to use the song examples listed after each
example as a reference. I would suggest using them sparingly so as to not
go overboard with what you've just learned. Keep in mind that it wasn't
too long ago that only a few players were finger tapping (i.e. Eddie Van Halen and Randy Rhoads) but since that time, over-exposure and misuse have
steered many of today's players away from using it at all in today's music
(in a future lesson, I will be demonstrating various ways of
finger-tapping which may assist you in coming up with some new ideas to
explore, similar to this month's lesson). With that being said, best of
luck!
Next Lesson:
Chord-ially Yours
Previous Lesson:
Theoretically Speaking
To learn more about
Patrick DeCoste, visit his website
at
http://www.decosteonline.com/
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