Steve Rieck: So far we have touched by dividing the string into half length to make one-octave harmonics and to quarter lengths to make two-octave harmonics and then also into thirds, three equal lengths to make an octave plus of perfect fifth harmonic, the fifth note in the scale of the string.
So, if we were to take that same length of string, the open string and divide it now into five equal lengths, that would wind up being somewhere around the fourth fret just a little bit before the fourth fret, the ninth fret, the 16th fret and somewhere around the middle of the soundhole on this guitar but you probably have to play around with that on your own guitar to make sure you find the exact spot.
But anyway, this grouping of harmonics is much trickier to get bring out clearly, you have to find the exact spot. In this case, it's just a little bit, tiny bit before the fourth fret and these notes as you can tell are way up, they are real high. And so, these are actually two octaves plus a major third above the open string note. So, if I have an Open E, that harmonic is a G# note and that's two octaves plus a third above E.
So, for the A string, I could have C#. For the D string, F#. For the third string G, I get a B. For the second string, I get a D# and for the E string, the first string get a G#. Again, two octaves are major third. Now, that would be also at the ninth fret. Notice how those are the same harmonics and then somewhere around the 16th fret, in fact, right over the 16th fret and then hope, I can do this.
Okay, right over in this case sort of a middle of the soundhole there. So that's, again, two octaves plus a major third above the open string. So, again, we have had to review. One-octave harmonics at the 12th fret. Two-octave harmonics at the fifth and that would be 24th fret. An octave and a fifth at the seventh fret as well as the 19th fret and then two octaves in the major third at the fourth fret, the ninth fret, the 16 fret and wherever this is, over in the middle of the soundhole.
So, that's harmonics. Let's check out a few techniques next.
Erik Mongrain: Hi, I am Erik Mongrain and today, I am going to try and show you to play the lap-tapping. The point here is this technique is mostly improvisation. For me, I would say 75% improvisation and 25% structures.
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