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Harmonic Exercise Guitar Lesson

Home > Guitar Lessons > Skill Building > Tips & Tricks > Tips and Tricks > Harmonic Exercise
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David Anthony

Harmonic Exercise

David Anthony teaches a beautiful harmonic exercise. This exercise is a short piece that is great for building harmonic skills.

Taught by David Anthony in Tips and Tricks seriesLength: 15:00Difficulty: 3.0 of 5
Chapter 1: (6:03) Introduction to the Lesson David begins this lesson with a quick summary of materials from past lessons. Thus far, David has shown you various ways to play harmonics. Harmonics can be applied to basic arpeggio patterns. “Nothing Else Matters” by Metallica features such an example. Harmonics can also be used in the context of string rakes.

New Chord Shapes It’s time now to briefly switch gears from natural harmonics to learn some new chord shapes.

Note: David refers to these chords by the incorrect chord names. The first chord should be labeled EMA7(no 3rd). The second chord should be labeled Asus2(#11). D is the eleventh scale degree in the key of A. This note is sharpened, so it is labeled as a #11. In order for the first chord to be labeled as “sus” the fourth scale degree A, must be added to the chord. The fourth scale degree replaces the third scale degree in sus4 chords.
Chapter 2: (9:08) Harmonic Exercise David demonstrates how harmonics can be added to a simple chord progression to enhance the overall tonal interest of the piece.

Note: Open “Harmonic Exercise” under the “Supplemental Content” tab for tablature to this exercise.

The exercise features a basic repeating arpeggio pattern in the right hand. The arpeggio ascends then descends. Practice the arpeggio pattern repeatedly with the first chord. Remember to start at a slow and even tempo. Breaking an exercise into smaller components often helps to learn the exercise more efficiently.

Then, gradually work in the natural harmonic at the end of the second arpeggio pattern. The harmonic is B, the fifth of the E chord. Prepare your pinky finger before playing each harmonic at the 12th fret. Move your pinky into position a few eighth notes before the harmonic occurs. It is too difficult to rapidly leap up to the harmonic from EMA7. You may find it beneficial to practice the harmonics by themselves. Practice switching back and forth between the harmonic on the E and B strings. Watch as David demonstrates this mini exercise at 3:30.

After the second measure, the bass note changes to A. This implies and Asus2(#11) sound. This time around, the harmonic note is added to the 12th fret of the high E string. Isolate this section by itself. Then, go back and add all four measures together. At 4:55 you have an opportunity to play the exercise along with David.

These harmonics cannot be combined with every chord. You must first analyze how the harmonic functions within the chord to see if it will work. Then, play it to hear how it sounds. For example, you probably won’t want to add a B harmonic to a Bb chord.

Upcoming Lessons
In the following lessons, you will learn some new ways of performing harmonics. Tapped/slapped harmonics and artificial harmonics (also known as harp harmonics) will be demonstrated in detail.
  • Harmonic Exercise
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  • EMA7 (no 3rd)
  • Asus2(#11)
  • E Major 7
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  • Harmonic Exercise
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Supplemental Learning Material

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Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


nate_thegreatnate_thegreat replied on December 13th, 2009

this vid isnt working for me....i'm on a mac and using safari, if that helps. all the other vids work though.

gideongideon replied on June 23rd, 2008

Loving your harmonics lessons. Very nice.

Tips and Tricks

Found in our Beginner Lesson Sets

Every guitarist gets to a point where he/she wishes to add his/her own touch to songs. Basic techniques such as hammer-ons, pull-offs, rakes, and harmonics are a great way to put an original spin on the music you play.



Lesson 1

Intro to Lesson Series

David Anthony introduces the Tips and Tricks lesson series.

Length: 4:12 Difficulty: 0.5 Members Only
Lesson 2

Basics of Harmonics

David explains the basics of natural harmonics.

Length: 25:00 Difficulty: 2.5 Members Only
Lesson 3

Cool Harmonic Exercises

David Anthony teaches a basic harmonic exercise. The exercise is modeled after "Nothing Else Matters" by Metallica.

Length: 10:48 Difficulty: 2.5 Members Only
Lesson 4

Rakes and Harmonics

David Anthony explains a technique known as string rakes. He explains how rakes may be used with harmonics.

Length: 15:30 Difficulty: 3.0 Members Only
Lesson 5

Harmonic Exercise

David Anthony teaches a beautiful harmonic exercise. This exercise is a short piece that is great for building harmonic skills.

Length: 15:00 Difficulty: 3.0 Members Only
Lesson 6

Tap Harmonics

David Anthony covers the basics of tap harmonics. He demonstrates an exercise that will help you with this technique.

Length: 24:00 Difficulty: 3.0 Members Only
Lesson 7

Slap Harmonics and Open Tuning

In this action packed lesson, David Anthony teaches slap harmonics and CGDGAD tuning.

Length: 15:00 Difficulty: 3.0 Members Only
Lesson 8

More Slap Harmonics

David demonstrates a new exercise involving slap harmonics.

Length: 9:00 Difficulty: 3.0 Members Only
Lesson 9

Harp Harmonics

David introduces harp harmonics.

Length: 16:00 Difficulty: 3.0 Members Only
Lesson 10

Harp-Slap Harmonic Jam

David Anthony brings harp and slap harmonics together in a practical, musical exercise.

Length: 10:03 Difficulty: 3.0 Members Only
Lesson 11

More Harp Harmonics

David returns to the world of harp harmonics. Once again, this lesson uses an alternate tuning.

Length: 14:30 Difficulty: 3.0 Members Only

About David Anthony View Full Biography David Anthony was born on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.

His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales. Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18 that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially. In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.

After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever. Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.

As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play crap, don't listen to crap."

David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.

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