Sie sind auf Seite 1von 18
: i Reda, Chdenrese O $ : ? DP ae ea Sade ae LENNY BREAU, TED GREI PRIVATE LESSONS MON by Jamie Findlay CONTENTS Tuning CHAPTER 1: Harp Harmonics CHAPTER 2: Natural Harmonics CHAPTER 3: Combining Harmonics with Hammers and Pulls CHAPTER 4: Using Harmonics over Chord Progressions Appendix: List of Artists/Albums with Use of Harmonics Guitar Notation Legend "This book is dedicated to the memory of Lenny Breau’ ISBN 0-7935-8043-9 HAL*LEONARD?® ORPORATION cong "No pat fhe puieaton may be pried in ay orm by any means 2 5 ) 13 15 16 Page CD Track 1 27 8-16 17-26 27-30 CHAPTER 1 Harp Harmonics A harp harmonic, also known as the Koto Technique, is produced by lightly touch- ing (or “stunning’) the string with the index finger of the picking hand at the twelfth fret above the fretted note. The string may be plucked either with the thumb [see photo] or with a pick held between the thumb and middle finger. When harp harmonics are used to play a chord, the fretting hand will provide the chord shape while the plucking hand will outline that chord shape twelve frets higher. In Figure 1, the Am11 chord shape consists simply of a barre at the fifth fret. Your picking hand should outline this shape at the seventeenth fret. Now let's add some normally fretted notes between these harp harmonic notes. | will refer to these normally fretted notes as “true tones” to differentiate them from the harp harmonies. Using the same chord from Figure 1, start with a true tone on the fourth string, fifth fret (G), then play a harp harmonic on the sixth string, fifth fret (A). If you're playing harmonics with your thumb, use your middle finger to play the true tone. On the other hand, if you're playing harmonics with a pick held between your thumb and middle finger (stunning the strings with your index), then play the true tone with your ring finger. Next, play a true tone on the third string, fifth fret (C), followed by a harp harmonic on the fifth string, fifth fret (0). Then play a true tone on the second string, fifth fret (E), followed by a harp harmonic on the fourth string, fifth fret (G). Finally, play a true tone on the first string (A), followed by a harp harmonic on the third string (C). nu ut on HL BM. wut HHL at Figure 3 continues with harp harmonics on the second and first strings, then it reverses the pattern to descend. Ores ams Amt HH MHL oo nH aw HHL Now we will combine the ascending and descending portions into a triplet figure starting with the harmonic on the sixth string. Ques ee wR MM MH ML Repeat Figure 4 until it sounds excellent! Until you are completely satisfied with your sound, don't even bother moving ahead. This technique is imperative to the rest of the material in this book. Now that you have mastered this technique, let's try it on some new ideas. Figure 5 utilizes a B1355 chord, Barre across the sixth fret with your index finger, then add your middle, ring, and pinkie fingers to the shape. Does this chord need to resolve or what?! To produce harp harmonics, remember to outline the chord twelve frets higher. The triplet figure will help get your speed going. Increase it gradually. Ores Tr \ Bb ISS BH ee a ee = MM leery troop This is a iii-bill-ii-+I-1 progression, which makes a nice sounding exercise. The last three notes of each chord are harmonics on the top three strings. After you get it down, transpose it into as many keys as possible. Then create and docu- ment (write out) your own progression. This will help you understand the entire process better, plus give you something else to play which is your own. There is no better music than your own music. Natural Harmonics Natural harmonies are those produced by dividing an open string into even por- tions—halves, thirds, fourths, fifths, etc. To better utilize natural harmonics, I've added nonharmonic bass notes to create chords. ° Fig.7 i a En Gangil3 Crngjt3 Here are a few more to try: + Natural harmonics at the twelfth fret create an Em11. * Natural harmonics at the fourth fret, over an A bass note, create Amaj13#11. * Natural harmonics at the twelfth fret, over a G bass note, create Gmaj6/9. * Natural harmonics at the fourth fret, over a B bass note, create Bmajé/9. * Natural harmonics at the fifth fret, over an F bass note, create Fmaj13#11 + Natural harmonics at the seventh fret, over a C bass note, create Cmaj13#11 + Natural harmonics at the seventh fret, over an F# bass note, create Bm11/Ft. A Major Scale o> ig. 8 G Lydian Scale ig. 10 Figure 11 is a repeating rock lick. While executing the hammer/pull sequence, lightly touch your picking hand’s index finger to the G string near the bridge pick- up, and move it slowly toward the neck. You'll hear the overtone series jumping off the string (cool). Try this using different combinations of notes on different strings. Ore u o pe —— 2 ——= == == Lh wuch index finger fo ing merge pap and move slow) ward ack prodoing vaio och amis. Figure 12 is an ascending line that | find nice-sounding. It is more of an exercise than anything else. Play it descending as well Figure 13 is another A major scale played with natural harmonics. This time, how- ever, the second G# is found on the sixth string, slightly behind the second fret (toward the nut). In the TAB below, this position is indicated as fret “1.8.” Figure 14 is a great line—sort of a G major with no fourth, or E minor with no sixth. . » itt re leap ouput 7 7 The next example is the same as the previous one, but with an extension on the front end. Since the natural harmonics are duplicated (up an octave) each time the string length is divided in half again, the fifth fret harmonic produces the same note as the twelfth fret harmonic (only up an octave). Similarly, the third fret har- monic produces the same note as the seventh fret harmonic (only up an octave). B a 6 CHAPTER 3 Combining Harmonics with Hammers and Pulls The examples in this section combine the harp harmonics shown in Chapter 1 with some hammer-ons and pull-offs, which function to fill in the “gaps” to produce full scales and modes. This approach is common in the music of Lenny Breau, and is also employed by such guitarists as Ted Greene and Tommy Emanuel. All of these examples are movable and should be realized and utilized in all keys and all areas of the neck. The first example utilizes A Dorian, barring at the seventh fret with the index fin- ger and adding hammer-ons on the sixth string as well as the second and first strings. To descend, we reverse the sequence, playing pull-offs in place of ham- mer-ons. (Note: The hammer-on/pull-off on the sixth string doesn't quite produce a harmonic, but it is close enough for illusion.) Take this example slowly; it should PF a —— 7149) 7 = 8 709) ie a2} 7 ey igae dentes A Den = Sun I CHL oly thn pl sound econ oe, “Sua” AHL. oy, the amine cad ee. Figure 17 is a G major (or lonian) idea. It employs the same barred index finger, but at the fifth fret. This time, the “harmonic” hammer-on (sixth string) is done with the ring finger and the hammer-ons on strings 1 and 2 are executed with the little finger. This is one of Lenny's most commonly used techniques. d Fig. 17 Sa eH ons en rer sso Sie Is HHL oly hen pal off econ ae Fh9) 6 Here is another application for the pattern shown in the previous example. The first sixteenth-note triplet starts with a harmonic on the third string, followed by a pull-off on the first string. Then shift everything down a string for the next triplet. This is one six-note group (sextuplet). After three such sextuplet groups, continue down the scale to end on G on the fourth string. ie Dre 13 Sie ee * Sa" st Hoy te pol ff oS Figure 19 is the F# Locrian mode, played with a barre at the third fret and adding F# and B on strings 4 and 3 with your middle and ring fingers, respectively. All hammers and pulls are played with the little finger. } Fig. 19 Key senate center Loran 10 Figure 20 is the E natural minor scale (or Aeolian mode). This one incorporates two “harmonic” hammer/pulls on the sixth and fifth strings. Den Fy SS wm tt ~ —— $ = = + oar wy wy a wu 4M MH HR Figure 21 is the Gt Phrygian mode. Barre at the fifth fret with your index finger, let your middle finger alternate between strings 5 and 4 at the sixth fret, and plant your ring finger on the third string at the sixth fret. Your little finger should perform all the hammer-ons and pull-otts. 2 Fig. 21 a” * Key signe demses OF Phryaian n The next four examples (Figures 22-25) are all played over A chords, which makes them sound like A scales or modes. They all start on a G note, incorporate harmonic hammer/pulls on the sixth string and normal hammer/pulls on the first and second strings, and employ a fifth-fret barre. A Melodic Minor over Am6 ees Sant ee D Harmonic Minor (4th mode) over A7b9 m9 d Fig. 23 A Harmonic Minor (7th Mode) over Am(maj7) Drvnl! E Melodic Minor over A7 (Lydian-Dominant) Driers 2 CHAPTER 4 Using Harmonics over Chord Progressions Figures 26-29 mix together all the different harmonics techniques, applied to var- ious chord progressions. This is where we can really start having some fun. The first one is in the key of G. It begins the same as Figure 14 then moves to an ascending C Dorian mode (over B}) at the tenth fret. Next is the C Lydian mode (over Am) in a descending line from C harmonic to C fretted, at the fifth fret. Then an A>139S chord (tritone substitute for D7#9'5) resolves to an open string natural harmonic chord over a G bass note (Gmaj13). Dr 26 Gray? Bb am Abiaks omal3 Feet Reese letingoophot a = @ c — (22) ” — _! This time the +I-ii-V-1 progression is in the key of F. It begins with F major (Ionian) then F# Lydian (or G# Mixolydian) over G#7. Then we have G Dorian over Gm7, and the fourth mode of F harmonic minor is played over a C7!9(>13) chord, It ends with an arpeggiated open-string natural harmonic sequence. obs) 8 d Fig. 27 Fm SSS echt a a te a as ne nH + — — ~ . T — a < _ Gm 790613) Finajl 3411 breeze wu HH ma HM yn St An dara Socata " 13 Figure 28, in the key of G, tums some of the previous examples inside out. First, it opens with a permutation of Figure 14. Then the arpeggiated E7#9/B» uses the first harp harmonics technique. In measure 3, a weird pull-off sequence appears over Am. Here, a fretted note is played on the first string, then @ harp harmonic is. played on the third string, followed by a pull-off on the first string. In other words, the harp harmonic is sandwiched in between the notes of the pull-off on the first string. This approach is then repeated on a lower string-set on beats 3 and 4. An ‘Abmaj7 substitutes for D7, which then ends on natural harmonics over Gmaj13. ® Fig. 28 G Evt91Bb Amt Abmai? Gmait3 lene oupiout FF = = ea a9, a fs y — = = ; Hold B while placing HA, hen pk Be Ao sting. £ £ This last example is rather complex. | call it “The Waterfall.” Here is how it works: The second and third notes of each triplet figure are always the same hammer- on/pul-oft (F#-E#) on the second string. This doesn't change. The first note of each sextuplet group moves across the neck in harp harmonics, while each sec- ond triplet incorporates an A# on the first string. The last chord is executed by dragging the ring finger of the plucking hand (or pick) backwards across the strings from high to low while stunning each with the index finger exactly halfway between the point where the harp harmonics would normally be stunned (in this case, the eighteenth fret) and the bridge. This is where the thirtieth fret would be placed, if the guitar had that many frets. Of course, since it doesn't, this must be eyeballed. Fig. 29 Freely Beet Key spre denotes B Lan Siu rnp gory 30 Ft a ce Wn tn bie Take it very slowly. This technique can be applied to other chords also. If playing with a pick, it may be easier to drag the pick with a downstroke, holding it between the thumb and middle finger and stunning with the index. Experiment, document your findings, and listen for the music! Appendix List of Artists/Albums with Use of Harmonics Lenny Breau Live at Shelly's Mann Hole The Velvet Touch Five O'Clock Bells Quietude Legacy Ted Greene Solo Guitar (The Legendary Guitarist Makes His Recording Debut) Tommy Emanuel Tommy Emanuel (The Thunder from Down Under) Pat Metheny Pat Metheny Group (white album) Parallel Realities (Indigo Dream- scapes) (with Jack Dejohnette) Ralph Towner Solo Concert City of Eyes Open Letter Crossing (with Oregon) Roots in the Sky (with Oregon) Ecotopia (with Oregon) 45th Parallel (with Oregon) Sargasso Sea (with John Abercrombie) Five Years Later (with John Abercrombie) Solo Guitar—Ana Michael Landau Steve Lukather Jamie Findlay Wings of Light Search (with Seatorth and Jenkins) Amigos del Corazén 15 GUITAR NOTATION LEGEND D A D EG Guitar Music can be notated three different ways: on a musical staf in tablature, and in rhythm slashes. ©® RYT SLASHES se win abo ne fat a Su cus inthe ym mele eet eho agin founda et of rt ‘he rt page of rnsngtonfoe Seopa chou wings Round Not: vonnede ind gl es. | enn surement — HH ‘nan Mey esa Ieaere Pies are aed afta test Stings: tr! eae i TABLATURE api repeats the sr rgb. fac razon ee Fepesets a sig. each nub bn MUST? WO: So te cea nd WHOLEATEF BOS ot" AGENTE EOS tn _SUBK NEROTON BENE Se < oe SENT RENE Glee” manlbete nee 7 fee 3 SS 4 ——— — e ————— CS | ———— a i es Z ae ts = $1 0 EI Sheet) FRE AE ane mes RAT: gy poy IE ERA af ae meee Se Sennen eee” Tou aaone seeiogbed Sal rcateamet oot sat oes < eee ‘ : en _—— i Zk Fe Sj —7 i =I eB mie. Spa (one nen LORE Pct foes onbecesLENTRUDE Sa Moo and__— SHE SUBE: Se pt, et Sane ese ee eat eae Meceniecnctaaeiagripy; Secexmronom a baal red oo" =a Sj — SS = = = 7 3 * ——— = 1 ee 4 & wy sss ara nto APG: fn tinea ATUL MRMONE Se tk PREN AMIONE Te en rote i a Sune teenie ated : Seance void ices 3 == | 5] aan ; = = T = — = x de = i : = — = PeLSCUPE tase ioe pccs_—-MUFLEDSTINGE: gress PRM pated RAE Dy eee i PEKAEUPE Dv tect, MET aE cece onic ckigee tase wns ar man ek cesar carta Lasnntons srsae ei 5 — — == eS E = = “ B i = TREWOLO PICKING: Tents picked IBRATOBAR IVE AND RETURN: The -—-IBRATO BAR SCOOP eps thrust VIBRATO BAR DIP: Si th ota en "iia eoranousy peste Dat bent och spp a fre ring the ae, han guy Inmate pa secs mre a Spacieg ree’ olsen) hn ree theta Soph et eee koe wip, ‘Shed enga e= one be B eS a B Pee Rae ele nel re Mu eee as eR ee . Te eee ee od I Yih , eae Un rm cl WW ee Cea aCe I A a | | | Whether your instrument is guitar, bass, Ce eRe CO re eg a} Oe aaa ee ere Me learning through a variety of series: - designed from MI core curriculum programs CD includes 30 full-demo tracks ee - designed from MI Harp harmonics & natural i elective courses harmonics Peele eh of topics “one-on-one” with MI hammers & pulls faculty instructors & Combining harmonics with B Using harmonics over chord progressions iw ere - handy reference to @ Standard notation & TAB - in-depth lessons with TET Aen RR oe dL instructors erat eRe ta) of music’s greatest songs, designed from MI’s performance workshop classes. co Pkg $8.95 8043-4 AM