Guitar Harmonics [PDF]

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How to Play Guitar Harmonics Tommaso Zillio www.musictheoryforguitar.com

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C ONTENTS

Contents

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Natural Harmonics 1.1 Position of Natural Harmonics . . . . . . . . . . . . . . . . . . . 1.2 Technical Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Artificial Harmonics 10 2.1 Shifting Positions for Artificial Harmonics . . . . . . . . . . . . 10 2.2 Technical Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

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Should I Learn All These Techniques?

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What’s Next?

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Introduction Thank you for downloading this eBook! If you are reading this it means that you are in the same position I was when I set out to learn how to play guitar harmonics. Wether you want to learn how to make your guitar squeal, or how to create beautiful harmonic arpeggios, or simply want to learn more about harmonics, this eBook will help you! To get the maximum benefits from this eBook, I recommend the following tips: 1. Work slowly. As in everything else, quality is more important than quantity. If you try to learn by heart all the harmonic positions in a single day, I can guarantee you that you are going to forget them in very little time. Proceed step by step instead, and then you are going to reap all the benefits of a permanent knowledge that is under your fingertips anytime! 2. Every time you learn a position for an harmonic, be sure to try it on your guitar. Note that some of the “higher” harmonics can be heard only with a distorted sound. 3. You do not need to know everything to use what you learned. If you have learned only the harmonics in the first diagram (see below) you do not need to learn also all the other diagrams before you start using what you have learned in your songs or solos. Very few players, even professional ones, know all the diagrams I have drawn here. The idea is to try out all the positions at least once, and then study in depth only the ones that sound best to you. If at the end of this book you will know how to use 2-4 positions reliably and at a moment’s notice, then this is a success! I put the complete diagrams of all position here ©Guitar Mastery Solutions, Inc.

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so that you can choose the ones that work best for you, not because you have to learn everything!

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N ATURAL H ARMONICS 1.1 Position of Natural Harmonics The very first thing to learn is the position of natural harmonics on the fretboard. Even if you think you know them already, I can bet that you do not know them all! All harmonics are ordered in what is called the harmonic series. By definition the first harmonic is just the note that you obtain picking the string the normal way, so it’s not really what we guitarists would call an harmonic. From the second harmonic up we find the “actual” harmonics. We are now going to study the position of every usable harmonic on the guitar. At the end of this eBook you will find 4 diagrams with the position of the natural harmonics on them. Read on as I guide you through them. Note: you do not need to know all these positions before reading the rest of the eBook. The harmonics on the first diagram are enough to learn tap harmonics, and the harmonics on the second are enough to learn pinch harmonics. The third and fourth diagrams are here for completeness, study them only if you need them! How To Read the Diagrams: each diagram shows the whole length of the strings on your guitar, from the nut to the bridge. The frets are indi©Guitar Mastery Solutions, Inc.

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cated, up to the 24th fret. Each natural harmonic position is indicated by a circle. Inside the circle is the harmonic’s note (assuming you are in standard tuning). The size of the circle decreases as we move further up the harmonic series; that means that harmonic with a smaller circle are more difficult to play. The color of the circle indicates the octave of the harmonic: Blue: the harmonic is between one and two octaves above the open string Green: the harmonic is between two and three octaves above the open string Red: the harmonic is between three and four octaves above the open string Orange: the harmonic is between four and five octaves above the open string

Let’s now go through each diagram in detail: The First diagram shows the most basic natural harmonics: • The second harmonic at the 12th fret, whose note is the same as the open string, but 1 octave above • The third harmonic at fret 7 and 19, whose note is one octave and one fifth above the open string. • the fourth harmonic, at fret 5 and 24, whose note is the same as the open string, but 2 octave higher I suggest you spend some time locating these harmonic positions on the fretboard and try to play them as natural harmonics. When I say that the harmonic is at a specific fret, that means that it is right on top of the www.musictheoryforguitar.com

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1.1. Position of Natural Harmonics

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metal fret. If your guitar does not have 24 frets, the harmonic at the 24th frets is still there, just imagine where the 24th fret would be. Being able to visualize these “imaginary frets” will be useful with pinch harmonics, as we are going to see soon. The harmonics on the first diagram are normally used only as natural and tap harmonics, not as pinch harmonics, yet it is important to be familiar with their positions in order to have a point of reference for the more advanced ones. The Second diagram shows some more advanced harmonics in addition to the basic ones. The new ones are: • The fifth harmonic, that is located close to the 4th, 9th,16th frets, and beyond the 24th. This harmonic, and in fact most of the harmonics from now on, do not fall precisely on a fret position. The fifth harmonic is a major third and 2 octaves above the open string. • the sixth harmonic, located close to fret 3, and beyond fret 24, whose note is one fifth and 2 octaves above the open string. • the seventh harmonic, located close to fret 3, 6, 10, 15, 22, and beyond fret 24. The note of this harmonic is close1 to a minor seventh and 2 octaves above the open string. These harmonics are harder to hear with a clean sound, so make sure you have some distortion on. If you master the harmonic positions of the second diagram, you know 99% of what you will need in real life. Higher harmonics than these are used very rarely (and we are going to see them anyway in the next diagrams). My 1

It’s actually a very flat minor seventh

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advice is to spend some time making sure that you know the second diagram completely by heart, with the position and pitch of every harmonic. Pay particular attention to the position beyond the 24th fret, as these positions will be the most useful ones for pinch harmonics. The Third diagram shows even more advanced harmonics, that are more difficult to play. These are: • The eight harmonic, 3 octaves above the open string • The ninth harmonic, a major second and 3 octaves above the open string • the tenth harmonic, a major third and 3 octaves above the open string. These harmonics are used less often than the ones in the second diagram. The Fourth diagram shows all the harmonics up to the sixteenth harmonic (4 octaves above the open string). We are not going to list them one by one. While you can theoretically go higher than that, this is practically never done, as higher harmonics are nearly inaudible. In fact, even the harmonics of this diagram are used only by very few players, and only in rare occasions. I am showing the fourth diagram just for completeness, but I suggest you spend most of your time on the 2nd diagram.

1.2 Technical Tips The Natural Harmonics are the simplest kind of harmonics. With a clean tone these harmonics sound delicate and bell-like. They can be used efwww.musictheoryforguitar.com

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Figure 1.1: Playing a natural harmonic at the 12th fret. Important points: 1) the left hand finger is positioned on the harmonic position, on top of the metal fret, and 2) the finger just touches the string without pressing it all the way down.

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fectively with distortion and the use of a tremolo bar to produce the “metal squeals” typical of players such as Dimebag Darrel or Mathias Ekhlund. The basic technique is simple. You play the natural harmonic on an open string, with your left hand touching (without pressing) the string at a specific position, while your right hand picks the string (with either a pick or with your fingers). It is important that you do not press down the string the same way you do when you are fretting a note. Instead, you should just touch the string with your left hand finger while you pick the string, see Figure 1.1 Just after you picked the string, you should remove your left hand finger so that the string is left free to vibrate. Click here to hear Example 1, the fret in the tablature indicates the natural harmonic position:

 


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If you are playing the harmonic with a distorted sound, you may want to apply some tremolo bar action. You can depress the bar just before playing the harmonic and then release it, or you can “dive bomb” the harmonic after you play it. Click here to hear Example 2: www.musictheoryforguitar.com

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A RTIFICIAL H ARMONICS The difference between natural and artificial harmonics is that natural harmonics are played on an open string, while artificial harmonics are played on a fretted string. Since we can change the note we are fretting, there are more notes available as artificial harmonics.

2.1 Shifting Positions for Artificial Harmonics To understand this section you should at least know the position of the natural harmonics indicate in the first diagram and optionally the ones in the second diagram (for pinch harmonics). The position for artificial harmonics are the same as the ones we have seen before for natural harmonics, only relative to the position of the fretted note. Let me clarify that with an example. As seen from the first diagram, we have an harmonic position at the 12th fret, and the resulting note is one octave higher than the open string. Now, let’s say we fret the string at the 1st fret. We can find an harmonic position for this note at the 13th fret (i.e. one fret higher than before). If we fret the note at the 2nd fret, then the harmonic is at the 14th fret, and so on. In other words, for any note you can play on the guitar, you can play an harmonic one octave higher at a position that is 12 frets higher than the www.musictheoryforguitar.com

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2.1. Shifting Positions for Artificial Harmonics

note you are fretting. The harmonic positions that after shifting still fall on the fretboard are well suited for tap harmonics, or for the classical technique. Some other positions after shifting will fall outside of the fretboard, though: these positions are the ones best suited for pinch harmonics. Since you have no reference frets here, the positions are slightly more different to find. The following two exercises will help you get started. You can do both exercises on any strings, but they are easier on the 6th and 5th strings. Pinch Harmonic Positions, Exercise 1: Using the pinch harmonic technique (see below), try to play a pinch harmonic on an open string at the 24th fret. This means, position your right hand so that your thumb will touch the string where the 24 fret is (or where it would be if you had a 24frets guitar). If you play it correctly, the pinch harmonic will sound the same as the natural harmonic at the 24th fret (or at the 5th fret, they sound the same). Now, with your left hand finger the string at the 1st fret, and move your right hand along the string by one fret, touching it where the 25th fret would be. Play the harmonic. Then finger the string at the 2nd fret and find your pinch harmonic where an imaginary 26th fret would be. Keep going higher and higher, until you can. Notice that the higher you go, the smaller the “imaginary frets” are. Pinch Harmonic Positions, Exercise 2: Again with the open string, try to find the natural harmonic positions off the fretboard (see diagram 2, you have 3 harmonic positions beyond the 24th fret). Try to play all these positions on the open string using the pinch harmonic technique. Once you can do it proceed as Exercise 1: finger the string at the first fret and move all the harmonic positions “one fret higher”. Then repeat while fingering the second fret, and so on. ©Guitar Mastery Solutions, Inc.

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2.2 Technical Tips There are 3 main common used ways to play an artificial harmonic on a guitar, and we are going to examine them all, one by one.

Pinch Harmonics The Pinch Harmonics are one of three possible way to play “artificial harmonics”. Pinch Harmonics are another, more versatile way to do the “metal squeals”. While on the natural harmonics technique we are limited to only few possible notes, a pinch harmonic can have any possible pitch. The pinch harmonics are played on a fretted string, not on an open string as the natural harmonics. To play a pinch harmonic, the left hand frets the string in the normal way. The right hand picks the string at a specific position hitting the string with the pick and the thumb at the same time. Click here to hear Example 3 where I play some pinch harmonic in a short riff. (P.M stands for “palm muting”, A.H. for “artificial harmonic”)


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Figure 2.1: How to execute a pinch harmonic. (a) Just before playing the note on the third string. Notice how little the pick is sticking out of my thumb. My thumb is on top of an harmonic position, found as described in the text. (b) I play the note on the third string with a downstroke. My thumb is touching the string now. (c) Immediately after, I lift my thumb from the string, to allow the harmonic to vibrate freely.

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I list here a few technical tips to make sure your harmonics will sound loud and clear: 1. Use some distortion. The more distortion you use, the easier it will be to make the harmonic sound. If you prefer a clean sound, use some compression instead. 2. Use your bridge pickup. The neck pickup makes more difficult to hear the harmonics 3. Make sure the volume and tone controls on your guitar are both set to 10 (i.e. max volume and max tone). 4. Change your strings often! Old strings may sound dull and lifeless, making it more difficult to get a convincing harmonic out of them. 5. Use a hard pick. A soft/medium pick will “give in” and you will not transfer enough energy to the string. Of course, try to pick the string quite hard. 6. Your right hand thumb should touch the string at the same time as your pick hits it. Immediately after you have picked the string, move your thumb away from it to allow it to vibrate. 7. Precision in finding the harmonic position is essential: a couple of millimeters away and the harmonic won’t sound. The good news is that with practice this is not as difficult as it sounds. But you have to practice it! 8. Just after you play the harmonic, apply a wide vibrato to the note. This way you will “bow” the string on the fret, obtaining more sustain. Famous users or this technique are: Joe Satriani, Steve Vai, Zakk Wylde. www.musictheoryforguitar.com

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Tap Harmonics The tap harmonics technique is used less often than pinch harmonics and usually with less distortion or on a clean sound. Harmonics produced with this technique have the same bell-like quality of the natural harmonic, but usually less sustain. The advantage is that with the tap harmonic technique there are more available notes than the ones you can have with just natural harmonics. Playing scales, arpeggios and melodies is now possible! Click here to hear Example 4, where I tap the harmonics 12 frets higher than the fretted note (T.H stands for “Tap Harmonic”)



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To perform a tap harmonic, your left hand will finger a note (exactly as you were doing for pinch harmonics). Your right hand will not pick the string; instead you will use a finger of your right hand (usually the middle finger) to “tap” the string at a harmonic position. With this I mean that you are going to hit the string with your right hand finger at a harmonic position, and the string will sound producing that harmonic. See Figure 2.2 for details. For the technique to happen, the harmonic position must fall precisely on a fret bar. This is because when you “tap” the string, the metal fret will offer something for the string to bounce on. Due to this requirement, the only usable tap harmonics are the one derived from the first diagram, i.e. the harmonics that are 12, 7, or 5 frets higher than the fretted note. ©Guitar Mastery Solutions, Inc.

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Figure 2.2: Playing a tap harmonic at the 17th fret, on a note fretted at the 5th fret (the harmonic position is 12 fret higher than the fretted note, see above “Shifting Positions for Artificial Harmonics”). The middle finger of the right hand hits the string on top of the 17th fret, making the string hit the fret itself. The finger is then immediately removed, and the harmonic is free to sound. Using the middle finger to tap the harmonic allows the player to keep the pick in his hand.

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Classical Technique This techniques is used by players who prefer to use their right hand fingers to play as opposed to use the pick. It works the same way as the pinch harmonic technique, meaning that the right hand does two thins at the same time: it touches the strings at the harmonic position and it plucks the string. The difference is in the use of the fingers rather than the pick: specifically, the right hand index finger will touch the string on the harmonic position, and then the thumb will pluck the string, see Figure 2.3. Click here to hear Example 5, that is identical to Example 4, but now I use the classical technique rather than tapping the harmonics (A.H. stands for “Artificial Harmonics”)



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Figure 2.3: Playing an artificial harmonic with the classical technique at the 17th fret, on a note fretted at the 5th fret (the harmonic position is 12 fret higher than the fretted note, see above “Shifting Positions for Artificial Harmonics”). The right hand index finger touches the string at the harmonic position, while the thumb plucks the string.

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S HOULD I L EARN A LL T HESE T ECHNIQUES ? No, unless you want to! I explained here all the techniques that you can use to play harmonics on the guitar, but this does not mean that you have to become an expert in all of them! You can learn only one or two, or all of them. For instance, I personally use a lot pinch and tap harmonics, I use natural harmonics only now and then, and I never use the classical technique for artificial harmonics (I use tap harmonics instead). My choices are dictated by the kind of sound and style of playing that I prefer. I suggest that you try all the techniques described here, and then practice intensively only the ones that fit your style and sound.

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W HAT ’ S N EXT ? “Ok, I learned all this cool stuff on how to play harmonics on my guitar. But what’s my next step? How do I make good music on my guitar?” At musictheoryforguitar.com we want to help you get better at music. We want to help you become a more creative guitar player and a better musician overall - so that you can play better, improvise better, and write better songs. Music theory is the ’secret sauce’ that pro musicians use (and downplay when talking to their fans). We want you to learn music theory in a usable way — not rote memorization. And we want it to be FUN! If you are hungry for more, you can come and check out our website for more free articles and videos... ...but if you want more help and are ready to take the next step, then check out our comprehensive music theory courses, made specifically for guitar players:

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Complete Chord Mastery Complete Chord Mastery is the course you want to take if: • Your focus is on rhythm guitar. • You want to learn harmony on the guitar fretboard. • You are interested in songwriting and composition. It’s a course for both beginner and advanced players. If you’re like most guitar players, you might still be struggling to master chords and chord progressions everywhere on the guitar. Hey, I’ve been there too, we all have. It seems like there is soooo much stuff to learn, and it would take a lifetime to learn it all! That’s what I used to think. It was so frustrating. ...but what I’ve found is there are people in this world who have mastered chords and harmony and it didn’t take that long to do. They aren’t any smarter or more talented than you or I. I’ve developed a simple – but complete – harmony system that I use with my own real-life students. This system takes out the mystery from the guitar so that they can learn, understand and (fluently) play all sorts of chords in a short time. You too will be able to play any chord, from simple to very advanced, all over the fretboard, in any position, inversion or voicing. You too can learn how to understand and apply chords and harmony on guitar. You will be able to write cool chord progression - the kind that make people say "what did he just play?". You will be able to use complex chords without even thinking. You will be able to play awesome rhythm parts on your guitar in any style YOU want! https://www.musictheoryforguitar.com/chords-and-harmony-guitar-lessons.html

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Master Of The Modes Master Of The Modes is the course you want if: • You want to focus on lead guitar. • You want to completely master the guitar fretboard • You want be able to improvise over ANY backing track or chord progression It’s a course for both beginner and advanced players. Some guitar players seem to create unique, creative and awesome guitar solos. Somehow, being creative just comes easy for them. How do they do it? They have mastered how be creative with scales & modes on guitar... and with this I don’t mean a bunch of scale patterns thrown together: I mean REAL musical insight. Scales and modes are one of the most difficult (and controversial) topic in music theory... To make them easy-to-understand you need a simple and consistent system. A system for learning, mastering, and actually using scales and modes in real music without any limitations. Armed with the core knowledge of Master of the Modes, you will learn and connect all there is to know about the modes. And yes, together we will use everything you are going to learn to play real music. Learn how to finally master completely scales and modes on guitar. Learn a system that is musically useful and will help you to write, improvise, and play the music YOU want to play! http://www.musictheoryforguitar.com/scalesandmodesguitarlessons.html

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Scales For Blues Guitar Scales for Blues Guitar is the course you want to take if you want to focus on pentatonic Blues and Classic Rock leads. • You hear great Blues players creating solos that sound amazing but have no idea how to do it by yourself? • Do you struggle in playing the Blues in all keys and over all the fretboard (as opposed in just one basic position)? • Are you thinking too much about "what to play next"? Wouldn’t you rather than let your emotions speak through your playing? If you have answered "yes" to any of the questions above, then you need to learn how music theory applies to Blues. And you need to understand how to use this knowledge into your guitar playing in an effective way. Here’s how to finally master all the scales for Blues guitar. Get rid of your frustration and lack of confidence once and for all. Learn how to play Blues from your heart! http://musictheoryforguitar.com/scalesforbluesguitar.html

Private Sessions For people who need 1-on-1 attention with their music theory. These are intense private sessions that focus on the topics you need in your music theory development. If you need help on topics that are not covered in the courses, or you need special feedback, then these Private 1-On-1 Music Theory Lessons are the option for you. https://www.musictheoryforguitar.com/private-lessons.html

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A BOUT THE AUTHOR Tommaso Zillio is a recording artist, composer, session guitarist, guitar trainer and instructional author. His expertise as a teacher is on training guitar players on how to use music theory to create their own style and express themselves. His main focus is on helping guitar players thinking both inside and outside the box and to eliminate anything that can restrict their free expression on the instrument. Tommaso holds a PhD in Theoretical Physics from the International School of Advanced Studies (SISSA/ISAS) in Trieste, Italy. He has been a Postdoctoral Fellow with the Smithsonian and to date he has published a dozen peer-reviewed research articles on topics ranging from Physics to Ecology. Tommaso’s influences are very varied, expressing the love of music that transcends genera and instruments. Some of his favorite musicians are: Dream Theater, Pink Floyd, Joe Satriani, Andy Timmons, Mike Oldfield, Jean-Michel Jarre, Nightwish, Astor Piazzolla, John Williams, Gustav Holst, Sergei Rachmaninoff. Tommaso is a graduate of Tom Hess’s Music Careers Mentoring Program and is a charter member of the Elite Guitar Teachers Inner Circle. He earned the esteemed "Elite Master Guitar Teacher" title given to less than 10 guitar teachers world wide to date. For more info about Tommaso, or to contact him, go to: https://www.musictheoryforguitar.com/abouttommasozillio.html.

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This eBook is under international copyright protection. It cannot be copied, sold, rented, loaned, or distributed in any way whatsoever, without written consent of Guitar Mastery Solutions, Inc.

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