Tapped harmonics above the pickups

[Les Fret]

Practicing this cool new technique lately. Instead of normal tapped harmonics where you tap above the frets I tap above the pick ups. This keeps your left hand free for doing bass lines while keeping an ostinato right hand pattern going. Not easy though because you have to be really precise with the right hand, otherwise the harmonic sounds muted. What do think?

 

[SteveCS]

That is a very cool way of pinging the harmonics. Just been trying and it appears that you have to maintain contact with the string for a split second to 'catch' the harmonic on the rebound - is that right?

 

[Les Fret]

That is a very cool way of pinging the harmonics. Just been trying and it appears that you have to maintain contact with the string for a split second to 'catch' the harmonic on the rebound - is that right?

Not really. You hit (tap) the harmonic and immediately release the finger. it's a short/sharp attack. Works best with the bridge pickup soloed of course.

 

[SteveCS]

Not really. You hit (tap) the harmonic and immediately release the finger. it's a short/sharp attack. Works best with the bridge pickup soloed of course.

If I do it too short/sharp it just sets the string in motion with too much fundamental - sounds more like a regular 'snap' with a few added overtones. Just a fraction more contact time and the node seems to become more static, killing the fundamental and allowing the harmonic to ring more clearly - closer to what you are getting. I imagine it is also a function of strings and setup. Mine is very low so it's very easy to over-cook it and crash into the fingerboard. But I'll keep at it as I can see some really nice applications. Thanks for sharing

 

[Les Fret]

If I do it too short/sharp it just sets the string in motion with too much fundamental - sounds more like a regular 'snap' with a few added overtones. Just a fraction more contact time and the node seems to become more static, killing the fundamental and allowing the harmonic to ring more clearly - closer to what you are getting. I imagine it is also a function of strings and setup. Mine is very low so it's very easy to over-cook it and crash into the fingerboard. But I'll keep at it as I can see some really nice applications. Thanks for sharing

ok great. My action is also fairly low to medium. Curious what you come up with. Maybe you can share it in this topic?

 

[perfektspace6]

Very pretty and clean playing.

 

[Koshchei]

Have you tried it with artificial harmonics? Does it still work, or is being over the pickup a requirement?

 

[Les Fret]

Have you tried it with artificial harmonics? Does it still work, or is being over the pickup a requirement?

Yes I have tried it. With artificial harmonics you need the left hand to fret the notes though. In that case the left hand is not free for playing the tapped bass line.

I have tried it with the false harmonic technique also. So playing the natural harmonics on the same spot as in the video but than using the Jaco Birdland right hand technique but now with natural harmonics. That works but it is much more difficult since you have to jump with the right hand too much. With the tapped harmonics you can tap all notes from more or less the same hand position.

So to conclude: If you want to play the same notes or something similar as in the video the tapped harmonic technique is the easiest and maybe the only way to accomplish this.

 

[SteveCS]

My left hand 'knows' the open string node positions at the nut end inside out, but I've have never really taken much notice of them at the bridge end other than the occasional 'pinched falsies' - thumb on node and pluck behind with 1st finger. The last time I looked at bridge-end nodes in any depth was over 30 years ago - I was playing a Jazz bass which has a lot more 'geography' going on. So it's baby steps to some extent. The first step has been adding an unobtrusive visual aid - a strip of transparent tape marked with a Sharpie for the 4th, 5th, 6th and 7th node positions measured from the saddle. At least I can confidently learn the positions without having to re-locate them every time:

Next stop - the harmonic 'scale':

Other higher nodes are available on the fat strings but seem pretty tricky to sound with this method - maybe later!

 

[PennyroyalWe]

Super cool! I can’t do it, though.

 

[Les Fret]

Super cool! I can’t do it, though.

Yes you can It just takes practice!

 

[Les Fret]

My left hand 'knows' the open string node positions at the nut end inside out, but I've have never really taken much notice of them at the bridge end other than the occasional 'pinched falsies' - thumb on node and pluck behind with 1st finger. The last time I looked at bridge-end nodes in any depth was over 30 years ago - I was playing a Jazz bass which has a lot more 'geography' going on. So it's baby steps to some extent. The first step has been adding an unobtrusive visual aid - a strip of transparent tape marked with a Sharpie for the 4th, 5th, 6th and 7th node positions measured from the saddle. At least I can confidently learn the positions without having to re-locate them every time:
View attachment 5244567
Next stop - the harmonic 'scale':
View attachment 5244586
Other higher nodes are available on the fat strings but seem pretty tricky to sound with this method - maybe later!

I actually got the idea from my upright studies. When bowing classical (solo) pieces you play those harmonic behind the board a lot. Whereas on electric bass you play those same harmonics above the 5th, 4th and 3rd fret. On upright when bowing you don’t play the harmonics there often.

Good idea with the tape!

 

[SteveCS]

I actually got the idea from my upright studies. When bowing classical (solo) pieces you play those harmonic behind the board a lot. Whereas on electric bass you play those same harmonics above the 5th, 4th and 3rd fret. On upright when bowing you don’t play the harmonics there often.

Good idea with the tape!

Thx!

As for the bowing, I see my daughter playing harmonics (and actual notes) way above the end of the fingerboard all the time.

Like I said I have pinched them there from time to time, but with that you have to modify the 'attitude' of the hand to get the thumb and fingers into position. Moving the thumb along the string between nodes also means a whole bunch of extra motion from the shoulder and elbow which interferes with normal fingerstyle play. With your method the interference is minimal to negligible. With that, and given time, it should integrate seamlessly with everything else - that appeals to my sensibilities.

Plus there exists the possibility of playing 2- or even 3-note chords which are nigh-on impossible with the pinch method. Maybe I have a bit of a head start because it turns out the right hand shaping and tapping is not dissimilar to that of the Stick, but without the 'hold'.

Once again, thanks for sharing this concept

 

[Les Fret]

Maybe I have a bit of a head start because it turns out the right hand shaping and tapping is not dissimilar to that of the Stick, but without the 'hold'.

Once again, thanks for sharing this concept

I have played Chapman Stick fanatically for seven years too. I stopped. Do you still play it?

 

[SteveCS]

I have played Chapman Stick fanatically for seven years too. I stopped. Do you still play it?

From time to time, yes. I started in '87 on a rented Polycarbonate. Got my Oak in 1990 and played it probably 40% for about 3 years, then almost 100% for another 3/4 years after that. Also used with previous band perhaps 25% from 2014-17, but that was very low-key - small pubs and bars. It always attracted questions/interest from the audiences. Had some really good lessons with Jim Lampi and Frank Joliffe back then, both of whom were students of Emmett. Jim had an all-white Polycarbonate with a modified 5-pole Roland Hex pickup - someone pulled some pretty serious strings to make that happen!!

 

[Les Fret]

From time to time, yes. I started in '87 on a rented Polycarbonate. Got my Oak in 1990 and played it probably 40% for about 3 years, then almost 100% for another 3/4 years after that. Also used with previous band perhaps 25% from 2014-17, but that was very low-key - small pubs and bars. It always attracted questions/interest from the audiences. Had some really good lessons with Jim Lampi and Frank Joliffe back then, both of whom were students of Emmett. Jim had an all-white Polycarbonate with a modified 5-pole Roland Hex pickup - someone pulled some pretty serious strings to make that happen!!

Ok cool. I quit completely because I got heavily in sitar playing and Indian music (still am) and that took all my time. I think Chapman Stick is something that you can’t do just on the side. I still miss it from time to time though and I love the Chapman Stick bass sound. But can’t do it all!

 

[SteveCS]

...
sitar playing and Indian music (still am)
...

Odd you should say that. I did a week-long Stick 'seminar' in Belgium in 1991. The organiser, Daniel Schell, is also into Indian music and included a Tabla and Raga masterclass as part of the event. Believe it or not, his "Karo Trio", which played an amazing concert the evening following the masterclass, is still going:
Karo Trio – Clic Music

Daniel had one of the very first prototype 12-string Sticks tuned in reciprocal 4ths, but I see he no longer plays a Stick but some other variety of tap guitar.

 

[SteveCS]

This is me then

and now:

it's not the same Stick. The first one, #032, was Padauk and was a spectacular wine red colour. Unfortunately it turned out that something in the wood was incompatible with the epoxy used to fit the fret rods and they started falling out. #121 is white Oak and has been solid - Padauk was dropped as a wood option.

 

[Les Fret]

Cool Steve !!! I had a Grand Stick. This was me in my Chapman Stick days:

 

[SteveCS]

Cool Steve !!! I had a Grand Stick. This was me in my Chapman Stick days:

View attachment 5245621

Nice!!