HARMONICS

CONTENTS
1. Natural Harmonics (the topic is covered in Lessons 141-145 of Andrey Nosov's Guitar School);
2. Artificial Harmonics (the topic is covered in Lessons 146-149 of Andrey Nosov's Guitar School);
3. Combined Harmonics (artificial harmonics combined with the standard way of extracting sounds) (the topic is covered in Lessons 150 153 of Andrey
-

Nosov's Guitar School).

PURPOSE
Recommended for students of elementary, secondary and higher musical institutions. You can read about the particular features of exercises in
Lessons 141-153 of Andrey Nosov's Guitar School.
These materials will be useful not only for students of music schools, colleges and conservatories, but also for amateur guitarists, if... they are
already familiar with all types of harmonics. If you have never heard of this technique, I advise you to learn the key lessons concerning harmonics (Lesson
141 – natural harmonics; Lesson 146 – artificial harmonics; Lesson 150 – combined harmonics) before starting the exercises. The lessons contain detailed
Andrey Nosov's Guitar School... Only the Best Materials...

information necessary for learning the given technique. I advise you to read them because it's impossible to understand harmonics and their designations

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on your own. For example, if you don't know that harmonics are not stopped between metal strips (as might be assumed according to the Roman numeral
designating the fret number), but directly above the metal strip, you will not get the right sound. The same effect might occur i f you do not apply the right
amount of force to the string or do not produce the sound for the right duration of time. And this is just natural harmonics the easiest type of harmonics
–

to play. There are also artificial and combined harmonics, which are much more difficult to perform. Basically, if you are still not familiar with this topic,
start reading my lessons.

rig os
GOALS AND OBJECTIVES
The exercises (see Contents) that I would like to bring to your attention are included in the training program of my (Andrey Nosov's) guitar
school and are mostly exclusive. Their goal is to teach and help you master harmonics playing techniques that are widely used in stringed instrument
practice, including guitar.

py N SPECIFIC FEATURES OF LEARNING

Each exercise shall be learned at any tempo convenient for you and then played at a speed sufficient to achieve a clean and clear sound (the key
factor here is not a high tempo, but high quality of the sound). Recommendations and explanations related to the use of hands can be found in the
exercises.
I wish you success in learning the materials...
Co rey
Andrey Nosov,
the author of the manual "Andrey Nosov's Guitar School"
and several hundreds of arrangements for guitar solo,
guitar ensembles, voice and guitar.

1. NATURAL HARMONICS
nd

1. Natural harmonics on fret XII

   
FL.12

4    4    4
(i-m)

 
4 (3)

    4   
(2)
A

(1)

4   
 




4


   
          
4

   
4
4
4



2. Natural harmonics on fret VII

     4   
FL.7
(i-m)

4   
4 (3)

    4   
(2)

 
(1)

4   
4
   



    4
        4

    
4


4
4   



Harmonics from A.Nosov,

and many other interesting and useful materials can be found on the website
http://www.guitarnosov.com
 
3. Natural harmonics on fret V
FL.5

    4    4    4
(i-m)

 
4 (3)

    4   
(2)
(1)

   
 

 4


4


   
          
4

   
4
4
4
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


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
4. Natural harmonics on fret IV
FL.4

       
(i-m)

rig os
       
4 (3)


(2)

       
4
(1) 4


4
   4
 4

py N





       
   
4
4

     
4
Co rey
4
4   



5. Natural harmonics on frets XII and VII

FL
nd

              
XII VII VII
XII VII VII
   XIIVIIVII

   
1  XII VIIVII
  1


4 1


4 1    


4 1 1 
a i m 4  1
A

a i m 1
a i m
a i m

                
XII VII VII
XII VII VII


 XII


XII VII VII  

   


    
  1 4 1 1 4
  


1 4 1


4
1 a i m a
a i m
a i m


6. Natural harmonics on frets VII and V
FL

VII V V

                 
VII V V
 


 VII V V

    1     
3  1   1 VII V V

     1       
1 3 1
3 1  
a i m 3  1
a i m
a i m
a i m

        
VII V V VII V V

          a i m       a i m 
  VII
VII V V 

 a
  1 3  1 3


  3 1 1
3  1
1
a i m

2
 
7. Natural harmonics on frets V and IV
FL

                2V IV IV
V IV IV
 V IV IV


     1 
1 

   2  1    
2  1  

 ai m 
V IV IV

 
1 2  1

  1


 
1
a i m
a i m
a i m

         
V IV IV


V IV IV V

     
 

      
V IV IV
2

 
  2  1




  
 2  1 1

a i m
2  1 1
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1 a i m a
a i m

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8. Double-note natural harmonics on fret XII

            
FL.12

rig os
           
                         
(3)
(2) 4
(1)

    
 
 
 

py N

 



9. Double-note natural harmonics on fret VII
FL.7

                      
Co rey
   
(3)

                     
(2)
(1) 4
 


    
    
   
 


10. Double-note natural harmonics on fret V
nd

FL.5

            
           
                         
(3)
(2) 4
(1)

    
A

 
 
 

 

11. Natural harmonics with chords on fret XII

         
FL.12

                
 
 
 
 



                    
(3)  

 
(2) 4

               
(1)   

 


 


12. Natural harmonics with chords on fret VII
FL.7

                          

(3)  

                    
   


(2)  
(1) 4   
  

   

 
 
 


13. Natural harmonics with chords on fret V
FL.5

             
                     


                    
(3)  

 
(2) 4

               
(1)   




 

3
 AULD LANG SYNE


Scottish Folk Song

  
XII

   
VII

 
      
FL. XII VII VII XII XII


XII XII VII XII 1 4
XII 4 4 1 4


4 1 4 1 4
4    
    



    
VII

 
      
1. 2.

  
XII VII VII XII

 
1 XII XII VII XII XII XII
4 4 1 VII XII XII


4 1 4 1 4 4 4
1 4 4
    
  

Andrey Nosov's Guitar School... Only the Best Materials...

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2. ARTIFICIAL HARMONICS
1. Artificial harmonics on open strings (fret XII)
1)
Harm.

rig os
       
XII

 0     0               
 0           
py N 0
0   

       
0   

Co rey
       
0     0      0
0    0   
nd

2. Artificial harmonics on open strings (fret VII)

Harm.

           
VII

       
 0     0   
A

 0           
0
0    0   
        
       
 0     0      0
0    0   
3. Artificial harmonics on open strings (fret V)
Harm.

       
V

       
   
 0     0       
 0       
0
0    0   
1) Harm. is an octave artificial harmonic. The exercises include not only octave artificial harmonics, but also fifth and fourth harmonics ("fifth" and "fourth" are intervals of
the same name on the guitar neck between the fingers of both hands while playing artificial harmonics). That's why the numeral "8" is absent after the abbreviation
"Harm.";
The Roman numeral indicates the place where you are supposed to slightly touch the string to extract the harmonic (fret number);
The diamond-shaped note-head indicates the pitch of the harmonic;
The round note-head indicates where the string is stopped by a finger while playing artificial harmonics (string number, fret number)
The Arabic numeral indicates the number of the finger with which you are stopping the string while playing artificial harmonics (if "0" is specified, the string is
considered to be open).

4
     
       
   
 0     0      0
0    0   

4. Chromatic scale with artificial harmonics (use this pattern to play on all strings)

  
Harm.
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     
Harm. VI VII VIII


Harm. V

 
VII X XI

     
VIII IX

ht ov
XIV XV XVI XVII XVIII
XII XIII

0 1 2 3  1
2  3 0 1  2 3 4 0 1   2  3

rig os


       
IX VIII Harm. Harm.
VII

      
VI V XI X IX VII XVIII XVII

 
VIII XVI XV


XIV XIII

    0   4  3   2
  3 2   1 3  2 

py N 1 0
XII

4 3 2 1 1 0

Co rey
4)

 
Harm.4

  XVI 
3)
IX

 
XII XIV Harm.5

 
V VII

 
XI

     1 3    0  2  4 0  1  3
5. E(Mi)-major scale with artificial harmonics XIV XVI IX
XIV XII XVII VII

 4 0
XVI XIII

   
2)
Harm.8 XIV XVI XIII XIV

       1  2  4 1  2  0
4


XII
XIV XVI
XII
nd

 4
2

 0  2  4  0 2 



A

       
Harm.8
X IX Harm.5


XVIXIV

 
VII V XII XVI

     4  3 1  0                 XIV
XI IX XIV XII
VIIXVII XIVXIII

    XII
XVI XIV


XIIIXVI

    
4 XIIXVI
4 2 XIV

  2 
3 1
0 0 4

0 4 
 2 0

0
2 1 4 2
 1 4

2 



  
Harm.4

   
VIII

   
XII XIV Harm.5

 
6. E(Mi)-minor melodic scale with artificial harmonics V VII

 
XI

             
XIV XVI IX

 
XIV XII VII

 
XVII

 
XVI XII

   
XV

 
Harm.8 XIII XIV

             
XII XIV XVI 2 4
XIV XV 4 2
XII 4 0 1 0 2 0 1


2

   
2 0 
4 0 
1 2 
2 4
3 0 
0 2 


2)
Harm.8 is an octave artificial harmonic (an "octave" is an interval of the same name on the guitar neck between the fingers of both hands while playing
artificial harmonics);
3) Harm.5 is a fifth artificial harmonic (a "fifth" is an interval of the same name on the guitar neck between the fingers of both hands while playing
artificial harmonics);
4) Harm.4 is a fourth artificial harmonic (a "fourth" is an interval of the same name on the guitar neck between the fingers of both hands while playing
artificial harmonics);
The goal of fifth and fourth artificial harmonics is to create high-pitch sounds that are impossible to achieve with octave artificial harmonics.
Notice that the sounds do not require the right hand (if the standard sitting position is used) to go beyond the neck, which often occurs while playing
octave artificial harmonics.

5
         XIII XII XIV XII XVI XIV
Harm.8
X VIII Harm.5


XV XIV

  4 2  1  0               XII XV XIV XII XV XIV 

VII V XII XV
X VIII
VII XVII

 1 0        XII
4

2 0 4  
3 1


2 1

0 3 
0 0 3

2 0 


3 2 0
 2



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3. COMBINED HARMONICS

ht ov
(artificial harmonics combined with the standard way of extracting sounds)

1. Artificial harmonics with a bass note

               
Harm.8 XVI XV XIV
XV
XII XIII XIV XIII

       
4 XV XVI XV XIV

rig os
1 2 3 3 2 1 XII XIII XIV XIII XVI XV XIV XIII


0
1 2 3 4 3 2 1 XII XIII XIV XV
0 4 3 1


0 1 2 3 2
 


                       
0
p
py N
             
                    XII 0 XII XIII XIV
XV XVI XV XIV
XIII
Co rey
XVI XV XIV XIII
XII XIII XIV XV 4 3

 
XV XVI XV 1 2 3 2 1
XII XIII XIV XIVXIII 4 3 2 1 0


3 4 3 0 1 2 3
2 2 1
0 1 

                        
nd

2. Artificial harmonics with a group of bass notes

               
Harm.8 XVI XV XIV
XV
XII XIII XIV XIII

       
XVI XV XIV
A

4 XV
1 2 3 3 2 1 XII XIII XIV XIII XVI XV XIV XIII
XII XIII XIV XV

        
0 3 4 3 2
0 1 2 1 4 3 1


2 3 2

               
0 1
 


                0       
0
0 0

       XII 0
0m 0
p

   
XVI XV XIV

    
XV

   
             
XVI XV XIV XIII XII XIII XIV XIII
XII XIII XIV XV 4 3

 
XV XVI XV 1 2 3 2 1
XII XIII XIV XIVXIII 4 3 2 1 0


1 2 3

       
3 4 3 0
0 1 2 2 1

 0         0        0        


0 0
0 0

ETUDE

  
Harm.8

  
XIV XV XIV

 
XII XII

  2 
3 XIII XIII XV

 
0 2 XII 0 2 XII XIV XII
Adagio 1 0 1 4
0 0

   0  3  4
     

 0  1  3
0

0
m
p

6
 
II

    
 
XII XVII XIV

 
XIII XV XVI


0 XIV XIV 4 XII
1 4 XII 3
0


2

  0
2

4  0
0
   




 0 0  0
V III

 3 1 4 XIX    4 XVII
XX XIX XIX XVII


XVII XX

 3  XV 
XV XIX
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  0 3
XVII


XIV XV 4 XIV XV
XII XII 4 3

ht ov
3


0 2 2

 
4

   3
    

 0  1 
0

rig os
0
V

 4 3  XIX 
XVII XX

 3  0  4  4
XIX XVII II XV



py N
XII XVII
XIII XV XIV XVI 3


0 XII
4

 
1

  0 3   0
   

 0 2 
 0  0
Co rey


  
    
XIV XV XII XIV
XII XV
4 XIII

 
0 3 0 2 XII
1 4
0

  02    3 0   
nd

  0   
  

 1 0  0 0 3 2    1 
2 0 4 2 0
A

0 3 3

  
II

   
 
XV XII XVI XVI XII
XIII XIV
4 0 XIV 3 3 0
1

  0 
3

2  0
    

 1 1 0 4   
 0 2
0
0

If you have downloaded this materials from somewhere on the Internet, now is the time to visit their home website
and take a closer look at all the other interesting and useful materials.

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1. Sheet music for guitar solo;

2. Sheet music for voice and guitar;
3. Sheet music for guitar ensembles;
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5. Vocabulary, reference materials;
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Andrey Nosov