Colonel Iain Scott is no faker but this is­sue he’s re­veal­ing how to play chords us­ing ar­ti­fi­cial har­mon­ics, also known as ‘harp’ har­mon­ics.

Guitar Techniques - - CONTENTS -

Iain Scott shows how us­ing ar­ti­fi­cial har­mon­ics can add beauty to your chords and lines.

Anat­u­ral har­monic oc­curs most com­monly when an open vi­brat­ing string is touched at the 12th, 7th or 5th fret. But har­mon­ics can also be used when a note is fret­ted on the neck - we just have to lo­cate them by mov­ing up to the cor­re­spond­ing po­si­tion of 12 or 7 frets above the fret­ted note. This is then called an ‘ar­ti­fi­cial har­monic’. Pro­duc­ing har­mon­ics from five frets higher is also pos­si­ble on open strings but on fret­ted notes it’s much more tricky, so most play­ers use the 12 or 7-fret in­ter­val to cre­ate ar­ti­fi­cial har­mon­ics.

To­day there­fore we will look at ar­ti­fi­cial har­mon­ics played from 12 and seven frets above, and show how they can be com­bined with fret­ted notes to pro­vide in­ter­est­ing chords and tex­tures. Spend­ing some time look­ing at ar­ti­fi­cial har­mon­ics and nat­u­ral har­mon­ics (GT265) means you can re­ally ex­pand your playing by adding a new range of sounds to both chords and melodies. Play­ers like Lenny Breau, Tommy Em­manuel and Chet Atkins are mas­ters of the art.

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