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Harp-Slap Harmonic Jam (Guitar Lesson)


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David Anthony

Harp-Slap Harmonic Jam

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

Taught by David Anthony in Tips and Tricks seriesLength: 10:03Difficulty: 3.0 of 5
Chapter 1: (10:02) Harp / Slap Harmonic Jam David kicks off this lesson with some introductory music that makes heavy use of natural harmonics.

Then, he provides a brief review of harp harmonics. A harp harmonic is produced 12 frets above the initial open or fretted pitch.

In the previous lesson, David showed you some basic exercises designed to get your fingers acquainted with playing harp harmonics. You learned a chromatic exercise as well as an exercise that featured arpeggios played as harp harmonics. The exercise presented in this lesson expands upon the materials you learned in the previous lesson. If you have not successfully mastered the exercises in the previous lesson, you will not receive the maximum benefit from the current lesson. Consequently, you should take this time to review harmonic exercises previously discussed in this series.

Harp / Slap Harmonic Jam

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

This exercise applies many technical concepts within one brief chord progression. This exercise includes harp harmonics, slap harmonics, as well as hammer-ons and pull-offs. Since it requires strong coordination between the brain and the hands, it is best to break this exercise into smaller chunks. You should isolate and practice each measure individually.

Take a look at the first measure. The first note (low E) is played as a pickup note. Then, hammer onto the note A at the 5th fret. While you perform this hammer-on, setup your left hand fingers for an AMI7 chord.

Note: Open the Supplemental Content tab for a diagram of this chord.

Next, you will pluck the D, G, and B strings with the index, middle, and ring ringers respectively. A slap harmonic is then applied to these notes. Simply slap these strings at the 17th fret. Make sure that your right hand index finger is directly over the fret when slapping the strings. This will produce the loudest possible harmonics. On beat 4 of the first measure, some "x's" appear in the notation. This indicates a percussive sound produced by bringing the right hand down on strings that are muted by the left hand. Watch David at 3:35 for a demonstration of this technique.

The second half of the first measure is almost an exact duplication of the first half. The muted, percussive effect is left out of the second half.

The second measure begins with a pickup note on the A string. Then, you will hammer onto the note at the 5th fret (D). As soon as you hammer onto this note, set up your other left hand fingers to form a D9 chord. The notes on the D, G, and B strings that comprise this chord are then plucked with the right hand. Next, harmonics of these notes are slapped at the 17th fret. Notice how the notes in a D9 chord are not all fretted at the 5th fret. This requires that you alter your technique slightly when you perform a slap harmonic of this chord. Angle your right hand index finger so you are simultaneously slapping the 16th and 17th fret. This will produce the loudest and clearest harmonics.

In the latter half of the second measure, a series of hammer-ons and pull-offs are performed on the A string. Leave the third and fourth fingers of your left hand on the strings during these slurs. This will prevent unnecessary movement of the left hand. Isolate the slurs if you have problems with them. While your left hand is performing the slurs, move your right hand into position in order to play the harp harmonics that occur at the end of the measure.

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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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