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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
30 Day Challenge
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Jazz & More Guitar Lessons: Harmonics

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Tricks and Techniques, Harmonics Part 1.
The next couple of lessons
will be about Harmonics.
And to make it simple,
a Harmonic is like an overtone.
[SOUND] You produce an Harmonic by
lightly touching a fret on a guitar.
On the guitar, you have these positions.
Twelfth position.
[SOUND] 7th position.
[SOUND] 5th position.
[SOUND] For instance,
there are a couple of more.
But these are the, the basic ones
You can even create harmonics by touching
other frets lightly.
But these are the main ones.
twelfth fret.
[SOUND] Seventh fret.
And fifth fret.
Like this.
Like that, so this would be.
E minor chord, E minor triad.
You will also work in the key of G and
D, this one, 7th position.
At D.
I'm gonna teach you how to create
harmonics in an artificial way,
'cause these are the ones that
you have naturally on the guitar.
[SOUND] And you can,
of course, you can use them.
When you play.
If you wanna create an artificial
harmonic, this is a good way of doing it,
the way I like to do it.
I take one note, which is a G.
3rd position first string.
Then, you go one, two, three, four,
five, six, seven, eight, nine, ten,
eleven, twelve frets up.
The same note, one octave up,
and instead of just
pressing down that note and
touching it really light,
lightly, let's see, like this with
my first finger on the right hand,
just where the fifteenth
fret is crossing over to
the sixteenth fret, just there.
[SOUND] At the same time I'm doing that,
I'm hitting the string down with my thumb.
See maybe you can see it here,
like this at the same time.
Then, you can just move your
left hand to another note.
And then you have to move your right hand,
'Cause you have to do
this in synchronized.
And you can change string.
You can play a scale or
an arpeggio, you can play chromatic
notes or you can play any note.
You just have to synchronize your
left hand and your right and, and
this is pretty difficult at first
And another way of doing it is
actually like this.
The result is the same.
This time you are holding your
right hand thumb over the fret and
you are hitting the string with
an upstroke instead of a downstroke,
for instance with your second finger.
these upstrokes get a little
bit more percussive.
You can.
The result here
might be a bit more a funky
thing going on here.
You can also do it like this, if you like,
with your first finger and
maybe with your third finger,
there are many ways of doing this, but
I kind of like the way I did it first and
if I want to get more kind of like
a percussive effect, I do like that
Then you can move it one octave up.
And now it's really difficult because
we have no frets, so we have to guess.
the technique is the same,
using this first finger.
I'm using the thumb to pluck the string.
So something like this.
A G minor pentatonic.
Even more difficult than the first one.
But you'll get it.
Technique is the same.
You just have to use your
ears a little bit more here,
because you have no frets to focus on.
You can even pluck it like.
With that technique too.
With the thumb
And the upstroke.
Another way of playing harmonics is to
slap, use your thumb or your for
instance, your right hand.
So, if you have a [SOUND]
G here down in the bass,
you can hit [SOUND] that
fret twelve frets up.
Like that.
Or you can even hit it there
hit that very same fret.
twelve frets above.
Creating different chords.
Like that.
It's another way of doing it.
One more way of doing it is like this.
For instance,
use the bar chord straight across with
the seventh fret and
then you do like this.
One, two, three, four, five.
One, two, three, four, five frets above.
So I'm plucking the strings here with
a pick but at the same time
I'm touching the strings really light
And I can do any chord.
It is important that the chord is
kind of played in the same position,
'cause if I do a chord like this and
it's very spread out,
it's impossible to get to all
the harmonics at that very same fret.
So it's better to have a chord, for
instance like this
This is very nice when you do
a chord melody.
Like that.
You don't even have to
have a pick to do it.
You can do it like this to simulate
the pick with your thumb and
your first finger.
this is the important part,
let me see if I can get this on camera.
Like this.
you can do it anywhere,
as long as you are five frets above.
Like that.
There's actually one more technique
of doing these harmonics.
You can use your pick.
This a technique that
a lot of rock players use
a lot of metal players because it's
easier when you have distortion.
And this guitar with a clean sound,
it's pretty difficult.
Like that.
What I'm doing is I am actually
twisting my pick in this direction.
I'm doing a little mute with
the lower side of my thumb
like this at the same time.
And I'm like distant wise
I'm probably around two octaves
up from the original note.
So it's very similar to this,
to this one actually.
Yes, I am doing it with a pick instead.
So, bring out your distortion
boxes in practice.
Tricks and Techniques,
Harmonics Part 2 Harp Harmonics.
This next lesson will be about
harp sounding harmonics.
And there was a guitar player called Lenny
Breau, who unfortunately died in 1984.
He was the guy who really invented
this technique more or less.
The other,
more basic artificial harmonics techniques
that I used during the previous lesson.
They, they have been around for years,
especially in classical guitar music.
even Django Reinhardt in the 30s [SOUND]
used these kind of techniques
to create artificial harmonics.
What Lenny Breau did.
[SOUND] He created a sound like,
something like this.
And this is actually kind of an illusion,
because when you are playing it fast,
as I am doing now,
it sounds like all of
these notes are harmonics.
But that is actually not the case.
Let me slow this down for
you for a second.
If I'm gonna do it here [SOUND]
with open strings first.
I'm using my first finger to touch
the twelve fret, really lightly here.
Almost, when you're up at
the thirteenth fret, like this.
[SOUND] And then I'm using,
here you can do it differently.
You can use different fingers.
I've seen other players use their
fourth finger or their second finger.
But I like to use my third finger,
[SOUND] this optional.
do an up stroke on the open G string.
And then move on, do the same thing.
[SOUND] A harmonic on the B string.
On the A string, [SOUND] excuse me.
then the [SOUND] upstroke
[SOUND] on the open B string.
[SOUND] Same thing on the D string.
[SOUND] Open E string,
[SOUND] then same on G.
And then you have no strings left up here.
So you can use a G string again [SOUND]
before you go back, [SOUND] if you like to
You can use that open E string.
Once again, if you want to, so.
Like this.
And to create a, an even longer arpeggio,
you can start by doing three open strings.
[SOUND] And then you start, so.
So E.
[SOUND] And then you start this.
Arpeggio with [SOUND]
the artificial harmonics.
it's time to add notes in the right,
left hand.
[SOUND] So, take any chord.
Let's take G minor [SOUND] 7 chord.
Just [SOUND] barre across the third,
[SOUND] fret like this.
[SOUND] Then you have
to be twelve frets up.
So you're up at 15th position.
Artificial harmonic.
Upstroke on D string.
Artificial harmonic on the B,
[SOUND] A string.
Upstroke on the B string.
[SOUND] Artificial harmonic on the D
string, [SOUND] upstroke on the e string.
Artificial harmonic on the G string,
[SOUND] upstroke on the E string
[SOUND] and then way back.
[SOUND] Fourth.
[SOUND] Second.
[SOUND] Fifth.
[SOUND] Third.
[SOUND] Sixth.
[SOUND] Fourth.
All right.
And then you can start by playing
just three [SOUND] notes like this.
It's really beautiful.
So let's try a different chord.
Let's try jazz chord for instance.
C7, flat 9, sharp 11.
Sounds like this.
[SOUND] I barre across the second fret.
[SOUND] B flat.
[SOUND] D flat.
[SOUND] F sharp.
So, and I can even add this [SOUND]
F sharp in the bass, if I want to.
[SOUND] Gonna leave a fatter sound.
So, [SOUND] then I have to be twelve
frets above the original note.
So fourteenth fret [SOUND] harmonic.
[SOUND] On to G string.
[SOUND] Artificial harmonic.
[SOUND] fifteenth fret.
[SOUND] Upstroke on the B string.
Artificial harmonic on
the fourteenth fret.
[SOUND] Upstroke on the E string.
[SOUND] And artificial harmonic
[SOUND] on the fifteenth fret.
[SOUND] Upstroke [SOUND] on the E string.
You can even start by doing
[SOUND] three notes like this.
And then you can do,
using the same technique, using the same
idea, you can all kinds of chords.
Like that.