HARMONICS FOR GUITAR BREWSTER CD TABLATURE TUNING NATURAL HARMONICS MAP-ARTIFICIAL-TAPPED-PINCH

 

HARMONICS FOR GUITAR. Brewster. CD TABLATURE

Harmonics for Guitar
The Complete Guide
Series: Guitar Educational
Format: Softcover with CD - TAB
Author: David M. Brewster

Inventory #HL 00695675
ISBN: 9780634038075
UPC: 073999956757
Width: 9.0"
Length: 12.0"
48 pages
 

This in-depth look at guitar harmonics teaches the techniques of masters such as Lenny Breau, Eddie Van Halen, Billy Gibbons, Andrés Segovia and others! This book/CD pack covers: natural harmonics; tapped, plucked and pinch-style artificial harmonics; chordal and melodic applications for harmonics; and more. Includes a natural harmonic fretboard map and tuning tips. The CD contains demos of every example in the book. 48 pages.

CONTENTS

INTRODUCTION

CHAPTERS:

NATURAL HARMONICS
LOW E STRING – 12TH FRET HARMONIC
12TH FRET NATURAL HARMONICS
E MINOR HARMONIC CHORD ARPEGGIO
E MINOR HARMONIC IDEA
Em7 HARMONIC CHORD
Em7 HARMONIC IDEA
A9 HARMONIC CHORD
Em D HARMONIC CHORD
NATURAL HARMONIC AT THE 7TH FRET
B MINOR HARMONIC TRIAD
HARMONIC PATTERN USING THE 7TH & 12TH FRETS
MORE 7TH 12TH FRET HARMONIC
12TH FRET HARMONICS WITH TREMOLO BAR

NATURAL HARMONIC MAP
HARMONIC CHORD PATTERN
NATURAL HARMONIC PATTERN
HARMONIC DIVE
EERIE HARMONICS
THE ELEPHANT

TUNING WITH NATURAL HARMONICS
TUNING E TO A STRING
HARMONIC TUNING LAYOUT
HARMONIC FRETTED TUNING
HARMONIC FRETTED TUNING LAYOUT

ARTIFICIAL HARMONICS
TAPPED HARMONICS
HARMONIC TAPPING
G/D TAPPED HARMONIC CHORD
A MAJOR HARMONIC TRIAD
TAPPED HARMONIC CHORD IDEA
TAPPED SCALE

PLUCKED HARMONICS
PLUCKED A MINOR / C HARMONIC ARPEGGIO
PLUCKED D MAJOR / A MAJOR HARMONICS
LENNY BREU STYLE PLUCKED HARMONICS

PINCH HARMONICS
BILLY GIBBONS PINCH HARMONICS
ZAKK WYLDE PINCH HARMONICS

CHORDAL APPLICATIONS FOR HARMONICS
CHORDAL HARMONICS F#m7
STEVE VAI HARMONICS
ROLLING HARMONICS

MELODIC APPLICATIONS FOR HARMONICS
ROCK RHYTHM
NATURAL HARMONIC MELODY
GLIDING ARPEGGIO
CLUSTER BOMB
EDVARD VAN HALEN RANDOM HARMONICS
BENT AND TAPPED

GUITARIST DISCOGRAPHY

CONCLUSION

ABOUT THE AUTHOR

GUITAR NOTATION LEGEND 

Harmonies are the unique overtones produced from a tuned open or fretted guitar string, occurring
at specific harmonic points, or nodes, along the string. The most typical harmonic sound, produced
by lightly touching and plucking a string at one of these nodes, is often likened to bells or chimes, due to the high pitch and transparent timbre. But harmonic techniques can also produce sounds that are more like screams and wails, as you will see in this book! Harmonics offer a world of sonic, melodic, and chordal possibilities, and the different applications of this technique can yield some impressive results for guitarists of any level or playing style.
The use of harmonics by guitarists in all styles of music is quite common. Classical guitarists and composers have used them for centuries. Rock and jazz players have always been aware of harmonics and use them often. Legendary guitarists from the past have staked claim on this musical territory and will be remembered as true innovators. Masters such as Eddie Van Halen, Pat Metheny, Michael Hedges, Jeff Beck, and Pantera's "Dimebag" Darrell have proven their individual mastery of playing harmonics.
Newer generations of musicians and some of the latest musical styles have also enhanced their sounds with harmonics. Guitarists such as Wes Borland (Limp Bizkit), Mark Tremonti (Creed), and Jerry Horton (Papa Roach) have utilized harmonics in modern rock recordings.
Any student of the guitar, regardless of musical preference, would greatly benefit from learning about harmonics and the different techniques used to produce them on the guitar. Learning how to create harmonics and understanding the techniques used will help any player wanting to expand his or her musical horizons. This book will demonstrate many harmonic techniques and applications that you can incorporate into your playing with a considerably short amount of practice.
As you progress through this book, be sure to take your time and carefully listen to the accompanying audio CD. The tracks on the CD were recorded to ensure that any student wanting to learn more about harmonics can hear what these different techniques sound like and what they can produce. Many of the examples are repeated at different speeds so that you can analyze them at a slower pace and hear them in "real time."
If you are curious as to what these techniques sound like in the hands of experienced players in various contexts, be sure to check out the short discography at the close of this book. Try to find some of the recordings from these players, and listen to how they use harmonics. Good luck!

Now that you have seen many different applications of harmonics, I hope you continue this musical
journey and explore some new uses for this technique. You can start with the short discography
listed in the previous chapter, but don't stop there. Listen to current, cutting-edge artists, as well
as those from the past who have broken new ground. Having refined the use of guitar harmonics, Eddie Van Halen would be required listening for someone who is new to his style. There are plenty of latebreaking artists who utilize harmonics in their music as well-groups like Creed, Limp Bizkit, and Linkin Park, to name a few.
Keep the framework of what you are playing in mind, but also use your imagination to help you find new sounds. Without the gifted imagination of Jimi Hendrix, Lenny Breau, Jeff Beck, Michael Hedges, and Steve Vai, many music-making techniques that countless guitarists use everyday might not have been discovered or developed. Also, beware of teaching methods and instructions that try to define the "right" and "wrong" way to make music. There are some practices that are physically unhealthy and should be avoided for the sake of your well-being (like bad posture or high volume). But if you find a technique that works for you and sounds good in your music, then it's totally acceptable to continue developing it as a new form of artistic expression, whether or not it's deemed "improper." If it sounds good to your ears, then it's a good thing, regardless of what a book or instructor may tell you.
Musicians have used harmonic techniques for centuries-if not millennia-all over the globe on many
different instruments. The alluring sounds of harmonics "tickle" the senses and inspire players in every style of music. Masterful guitarists from the past have helped shape the broad range of harmonic sounds that we can utilize on the instrument. But this is only the beginning, and the great players of the present day show us that there are always new ways to use these ancient techniques.
"Radical" thinkers and players keep the musical world moving forward and prevent guitarists and music from all sounding the same. The innovative use of harmonics has often been part of the "radical" thinking of guitar pioneers. I hope the explorations in this book help you to find your own style or "voice."

THE AUTHOR
David M. Brewster is an honors graduate of the Atlanta Institute of Music in Atlanta, GA (Guitar
major). He has over fifteen years of professional experience and ten years of private, tutorial, and
group instruction in various subjects for electric and acoustic guitar in many styles. He has recently
written four instructional guitar method books, Basics from the Woodshed, Guitar from the
Woodshed, Rock Guitar, and Funk Guitar. He is also a Guitar World magazine guitar instructor and uses the magazine readily in private lessons with students. He has played and recorded various styles of music with touring groups and regional bands and opened for classic rock groups such as Triumph, Blue Oyster Cult, Nazareth, and Head East (to name a few).
David is currently working with a group from Louisville, KY called Giovanni Jones. Their eclectic mix of rock, funk, blues, and jazz is sure to tum some heads. Their debut album is nearing completion and will be available soon.
 

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