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I'd
like to speak a little bit about about
harmonics.
The very beginning when I was showing you
the,
in the tuning section, I very briefly
mentioned harmonics.
I didn't want to go into it in any detail
there because it was,
I was just using harmonics in relation to.
Getting the guitar in tune with itself.
And as I said, we get a natural harmonic
on the 12th fret.
This is because the,
the basic physics of it is that we're,
we're disturbing the sound wave.
So that we're getting two sound waves
really.
So that's, we play the note on the 12th
fret.
We also, if we just hit above the fret and
let go.
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We get a harmonic.
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We also get harmon, harmonics,
natural harmonics in different areas of
the guitar.
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Again,
we're just disturbing the sound wave.
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So
these are the natural harmonics that we,
that we use and we hear.
And we can kind of mix them together, we
get, we get harmonics on the seventh fret,
you can do things like this.
Starting on the second string.
And then on the, on the seventh fret and
on the first string on the tenth fret you
can kind of work your way down.
You get quite a nice kind of.
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This kind of sound.
Now, these are the natural harmonics that
come.
Without really touching anything without
pressing any strings down at all.
We can also false harmonics by making the
sound waves different.
We can get different kinds of harmonics
here.
So we can,
this harmonic here on the twelfth fret is
halfway as I spoke about earlier.
If I was to press the F down here.
There'll be a natural harmonic on the F
here, 12 frets away.
Which I can play, I would play it this
way.
[SOUND] You can also play it, if you have,
use with a pick.
You can play.
[SOUND]
And that follows up all the way along.
If I go to an F-sharp.
I just follow, I play the F-sharp with the
left finger.
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And I just follow twelve frets away.
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That's a false harmonic,
and we can play it on all the strings.
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All
we do is we follow the pattern that we're
playing here, twelve frets up.
So we can play a chord like that.
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So, that's our false harmonics.
What we can now do, we can actually make
music out of this [LAUGH] and
we can combine the false harmonics,
natural harmonics, and
the natural notes as well.
So, I'll gi, I'll give you an example
here,
let's just do it first of all just on that
twelfth thread.
Now, if I play an open D string, and
then play the harmonic on the,
the sixth string, and then move up
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Third string open.
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Fifth string harmonic.
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Second string open.
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Fourth string harmonic.
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First string open.
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Third string harmonic.
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We can start getting nice kind of arpeggio
sounds.
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And we can follow that with,
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And then we can go back the other way.
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We can do this kind of thing.
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And again,
using that principle that we're just 12
frets away, we can do the same thing.
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That's open 12th fret.
Let's play on the F.
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F-sharp.
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Backwards.
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Gives a really nice harp effect.
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Then
you can also do it when you, if you wanna
play a chord shape.
You can do it something like this.
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There are some
guitar players that I know that really
specialize in this, this false harmonic.
Somebody like Tommy Emanuel is a
particular master of this kind of
playing and.
If you really wanna find more about this,
I'd check out someone like Tommy, who
plays it so beautiful.
Some of the earlier players like Lenny
Breau was a real pioneer in, in this.
I tend to use it as an extension of an
arpeggio.
If you can imagine playing a harp
arpeggio.
But running out, when you run out of notes
really.
So you have.
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I can play that kind of thing.
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I might play it more like this.
So rather than going.
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I would use,
I would bring that, the, the false
harmonic.
Arpeggio in, so.
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I can even do this, too.
You can go even further up.
If you can find it.
There's, there's more up here, too.
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These are harder to find
because you haven't got a fret up here,
but you can go all the way up there.
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These are things, this
is something you can, you can experiment
with this for ages and just play around.
Check out those two players though.
Check out Lenny Bro and Tommy Emmanuel,
cuz they're two players that absolute
masters at this.
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And what one thing I would say to you
though is when you, when you, when you use
this, use it kind of sparingly.
Don't, don't do it all the time.
Just find a nice spot to play it.
There's sometimes you don't want to give
all your,
all your secrets away all at once.
So you know when start a solo don't,
don't go straight into playing, playing
harmonics.
But you can maybe end with something or
bring it in where it's effective.
Always try and keep in mind all of these
devices and ef, effects and different
techniques.
Always try, always bear in mind to, to use
them in a musical context.
That's how they are the most effective.
If you just use them, oh now I"m playing
these harmonics now, I'm doing this.
It makes the whole thing sound a bit
disjointed and
it doesn't have the same kind of depth of,
meaning.
Always bear in mind these things are here
to make us, express ourselves musically.
So,.
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Have some fun with these because this is
really a lot of fun.
And find different shapes.
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And
just, just enjoy messing around with false
harmonics,
natural harmonics, and arpeggios.
It's it's a really nice effect.
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Teach the world.
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