Natural and artificial harmonics

A harmonic is a pure, bell-like note made by lightly touching a string at an exact point instead of pressing it to the fret. Natural harmonics on open strings are easy once you find the spots; artificial harmonics let you play a harmonic over any fretted note. Both are used in fingerstyle arrangements for intros, endings and sparkle, and natural harmonics are a handy way to tune.

By the end of this lesson you will be able to:

• Play clear natural harmonics at frets 12, 7 and 5 on any string.
• Play an artificial harmonic 12 frets above a fretted note.
• Use harmonics as a colour in a short arrangement passage.

A string vibrates as a whole, but also in halves, thirds, quarters and so on at the same time. Touch it lightly at exactly half its length and you stop the whole-string vibration while leaving the halves free. What you hear is a harmonic: a pure, bell-like note, higher than the open string.

Natural harmonics on open strings sit directly over particular fret wires:

• Fret 12 (half the string): one octave above the open string.
• Fret 7 (a third of the string): an octave and a fifth above.
• Fret 5 (a quarter of the string): two octaves above.

The technique is the same for all of them: touch the string lightly right over the fret wire, pick firmly near the bridge, and lift the finger straight away. Fret 12 is the easiest; fret 5 is quieter and needs more precision.

Artificial harmonics work over fretted notes. Fret a note normally; the "half-way point" is now 12 frets higher. The picking hand does two jobs: the index fingertip touches the string over that point, and the thumb (or ring finger) plucks behind it. This is the "harp harmonic" sound used in a lot of fingerstyle playing.

Printed tab usually marks a natural harmonic with angle brackets, like ‹12›.

Finding fret 12.

1. Rest the fretting-hand ring finger on the low E string, directly above the 12th fret wire. Do not press.
2. Pick the string firmly, close to the bridge.
3. Lift the finger off immediately. A clear, high note rings on.
4. If you hear a dull thud, the finger is slightly off the wire or pressing too hard. Adjust by a millimetre and try again.

Artificial harmonic on C. Fret the B string at fret 1. Point the picking-hand index finger and lay its tip on the B string over fret 13. Pluck the string with the thumb just behind that fingertip, and lift the index. Move both hands together for each new note, always keeping the 12-fret distance.

Do these in order. Each one is small. Tick the ones you have practised.

• 1.Fret 12, 7 and 5

  5 min

  1. Touch the low E string lightly directly over the 12th fret wire, without pressing it down.
  2. Pick the string firmly near the bridge, then lift the touching finger straight away.
  3. Repeat on every string at fret 12, then at fret 7, then at fret 5.
  4. Strum the fret-12 harmonics on the top three strings together, with one finger laid across them.

  You have it when

  • Each harmonic rings clearly for two seconds or more.
  • You can get the fret-5 harmonics, which are quieter, on at least four strings.
  I practised this one

• 2.Artificial harmonics

  5 min

  1. Fret the B string at fret 1 (C) with the fretting hand.
  2. With the picking hand, lay the index fingertip lightly over fret 13, twelve frets higher.
  3. Pluck the string with the thumb (or ring finger) behind the index, then lift the index.
  4. Play a C major chord shape and pick artificial harmonics on each fretted note, 12 frets above it.

  You have it when

  • You get a clear harmonic on at least three notes of the chord.
  I practised this one

• 3.A harmonic ending

  4 min

  1. Play a slow Em arpeggio for two bars.
  2. End by playing the fret-12 harmonics on the G, B and high e strings, one at a time, then together.
  3. Let them ring until they fade completely.

  You have it when

  • The harmonics sound clear and in time with the arpeggio before them.
  I practised this one

Untimed. A harmonic needs a light, precise touch and a clean release, which does not improve by rushing. Let each harmonic ring for at least two seconds before the next.

• Touching the string between the frets. Natural harmonics are directly over the fret wire, not where you would normally fret. Move the finger until the harmonic pops out.
• Pressing too hard or holding on too long. Barely touch the string, and lift the finger as soon as you have picked. Holding it on chokes the note.
• Picking too close to the neck. Pick near the bridge. It brings out the harmonic much more clearly.

Harmonics are a common way to start or end a fingerstyle piece, and they can carry a melody when used sparingly. Add the harmonic ending to your first arrangement.

Try it in: House of the Rising Sun.

Short version (10 minutes)

Play natural harmonics at frets 12, 7 and 5 on every string.

Standard version (about 30 minutes)

Do all three exercises, then add a harmonic intro or ending to the arrangement you made in the previous chapter.

• Natural harmonic: touch over the fret wire, pick near the bridge, release.
• Fret 12 sounds an octave up; fret 7 an octave and a fifth; fret 5 two octaves.
• Artificial harmonic: fret a note, touch 12 frets higher with the picking hand, pluck behind it.
• Light touch, quick release.

You are ready to move on when you can honestly say:

• I can play clear natural harmonics at frets 12, 7 and 5.
• I can play an artificial harmonic over a fretted note.
• I can use harmonics to end a short piece.