ROB STATHAM
ROB STATHAM
EXPLORES THE
WORLD I I I NATURAL
HARMONICS, AN
ESSENTIAL TOOL FOR
ALL OF US
I
n previous columns, we've
explored harmonics in some
detail, and so this month I'd
like to go a little further and
explore the use of natural
harmonics up to the tenth
harmonic, demonstrating their
usefulness in creating melodies,
chords, and added colour to
our bass-lines. I'm going to
concentrate on natural harmonics
as opposed to false harmonics, a
topic we've already looked at in its
own right. All of the harmonics
in this month's examples can
be produced in the usual way,
with the fretting finger resting
lightly on the string at a certain
point, with the string then being
plucked to produce the required
harmonic note.
Note that when we get to the
sixth harmonic and beyond,
the tab positions are shown
as decimal fractions. So for
instance, the sixth harmonic
is just to the bridge side of the
third fret and has been indicated
EXAMPLE 1
EXAMPLE 2
/5”*°.
.........................................................................................................................................................................
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f
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EXAMPLE 3
EXAMPLE 4
as 3.2. These fractions are just a guideline, so you might need to use a certain amount of trial and error
before you find exactly where the note is.
The first example is the notes of the harmonic series as found on the G string up as far as the 10th harmonic. A
few points to note here: firstly, the note-head of harmonics is usually shown as the diamond shape, as indicated.
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