Tap Harmonics Guitar Lesson

Chapter 1: (08:34) Introduction to Tapping Take some time to review the previous lessons in this series before diving into the current lesson. Thus far, you have learned how to perform natural harmonics. These are the most common type of harmonics used by string players. David has demonstrated how these harmonics can be applied to a musical context. Natural harmonics can be applied to an arpeggiated chord progression as you learned in the previous lesson. They can be used on their own at the 12th and 5th frets as a substitution for a basic open Em chord. Lastly, natural harmonics are frequently added to a technique know as the string rake. If you have any questions or concerns regarding the information presented in the previous lessons, feel free to contact David Anthony or any of the Jamplay instructors.

I. Notation of Harmonics

Note: Open "Harmonics and Tab" in the "Supplemental Content" tab for examples of notated harmonics.

A. Natural Harmonics

A natural harmonic is typically indicated in tablature by placing the appropriate fret number in brackets. The abbreviation “N.H.” is written above this note. In standard notation, this abbreviation also appears. A harmonic is notated on the staff by a note head that is shaped like a diamond.

B. Tapped Harmonics

Tapped harmonics are written the same way as natural harmonics in standard notation. Typically, a "+" symbol is used in the notation to indicate that the harmonic should be tapped. In tablature, the fret location of where the right hand tap should be performed is written in parentheses. The note that is fretted with the left hand is written beside this note outside of the parenthesis. The fretted note is always 12 frets lower than the tapped pitch.

II. Why Are Tapped Harmonics Used?

Natural harmonics can only be used to sound pitches that are neither sharp nor flat. For example, you cannot produce an Ab by performing a natural harmonic. Using tap harmonics, you can sound a harmonic on any of the 12 pitches in the chromatic scale.

David applies this concept to an Ab chord. Tapped harmonics are most commonly used to outline chord arpeggios. You wouldn't want to add a natural harmonic to this chord, because the pitch of the natural harmonic would clash horribly with the notes in the Ab chord. However, using tap harmonics, you can produce a harmonic pitch that is a note contained within the Ab chord.

III. Tapping with an AMI7 chord

David introduces tapping concepts within the context of a fifth position AMI7 chord. This chord is an excellent choice to start with, because all of the notes in the chord occur along the 5th fret. If you are unfamiliar with this chord, check out David Anthony's Phase 1 lesson pertaining to MI7 chord shapes. You can also access a fretboard diagram of this chord under the "upplemental Content" tab. This particular chord voicing is a movable shape with the root note on the sixth string.

Begin by performing a tapped harmonic on the D string. The left hand is fretting the note G with the second finger at the 5th fret. The harmonic is produced on this same string with the right hand index finger. Smack the fretwire of the 17th fret of the G string to produce the harmonic.

Note: Like David mentions, a tapped harmonic can be produced at either five, seven, or twelve frets up from the note fretted with the left hand. However, the harmonic that occurs 12 frets up from the initial fretted note is the only one that is typically used. Harmonics that are five or seven frets up from the note fretted by the left hand produce a weak, quiet tone.

A. Right Hand Technique

Use the pad of any right hand finger to smack the fretwire. Since the pinky finger is rather weak, it is seldom used to produce a tapped harmonic. Do not plant the right hand finger on the fretwire once you have tapped it. As soon as you have tapped the harmonic, quickly release the right hand finger from the string.

Chapter 2: (04:55) Another Tapping Exercise In this scene, David presents some exercises that will get you acquainted with tapped harmonics.

Exercise 1

Note: Open the "Supplemental Content" tab for tablature to this exercise.

Exercise 1 gives you practice producing tapped harmonics in conjunction with notes fretted by the left hand at the 5th fret. This exercise is divided into three sections. The first section indicates that the harmonic should be tapped 5 frets up from the root note. The harmonics in the second section are played 7 frets up from the root. Harmonics are produced 12 frets above the root in the third section. Devote extra practice to the third section.

Chapter 3: (10:53) More Tapping Practice Exercise 2

Note: Open the "Supplemental Content" tab for tablature to this exercise.

The second exercise features a chromatic riff in the left hand. Practice the chromatic riff by itself before you begin to include the tapped harmonics. Isolating and mastering the left hand portion of the exercise will make the right hand portion much easier when you get to it. Remember that the tapped harmonic occurs twelve frets above the fretted note. Practice this exercise very slowly to begin with. Focus on creating loud and clear harmonics. If you have a problem sounding a particular harmonic, isolate the harmonic and practice it repeatedly.

Exercise 3

Note: Open the "Supplemental Content" tab for tablature to this exercise.

Exercise 3 demonstrates how tapped harmonics can be applied to an arpeggiation of a chord. As mentioned earlier, tapped harmonics are usually applied to arpeggio shapes. Play the exercise with harmonics and without them to compare the differences in tone.

This exercise outlines a DMI7 chord in fifth position. Apply tapping harmonics to other chords in your vocabulary. Also, use this technique in the context of chord progressions that you have learned.

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