Pinch harmonics

A.K.A. Artificial Harmonics (though there is really nothing artificial about them). This is an advanced technique and was popularized by Billy Gibbons and many others as early as the 1970s including many Heavy Metal artists. These harmonics follow the same principles of physics as a natural harmonic, the difference being how the harmonic is produced. In this case a note is struck in a downwards motion with the pick and in the same motion the string is touched (one might really say brushed) with the edge of the thumb that is holding the pick. Or one can do it with the edge of the index fingernail, followed by the pick.




Pinch harmonics are most effective and audible using an electric guitar with overdrive or distortion and in some cases these harmonics are virtually inaudible using a clean (not distorted or overdriven) electric guitar or an acoustic. It can sound good when used properly even without much overdrive but it's not always clear or detectible. Use overdrive or distortion for best results especially while learning and practicing this technique.


With regards to difficulty: this technique, although rewarding, is mostly rewarding only in advanced situations (soloing and intense expressive riffing). It is difficult enough to easily frustrate a beginner and some intermediate players and since there are so many more rewarding and useful techniques worth spending time on as a beginner (scales, soloing, blues, riffing, strumming patterns), this technique is only recommended for intermediate or advanced players.


As mentioned above, these harmonics are produced by striking a note with the pick and touching the string with the picking thumb. Grip the pick so that the tip barely peeks out between your fingertips (this is why they are called "pinch" harmonics). It's easier when you are fretting a note with the left hand so try fretting a note (perhaps the 5th fret on the 4th(D) string), and plucking the string just below the neck pickup pole pieces (maybe 1/8" toward the bridge from the pole pieces). With luck the artificial harmonic will ring, but if not don't despair.


The position of the plucking along the length of the string is one of the most important parts of this technique. While with regular picking the position of the picking along the string can make slight variations in the sound of the note, when executing pinch harmonics the right position is vital and tiny positional differences can make entirely different harmonics. So try adjusting the picking hand just millimeters up and down the string around the area of the pickups.


Try imagining the pick and your picking thumb plucking the string at the same time although the thumb is really just brushing past it. Consider it to be really one motion. Try thinking of your thumb and the pick as one entity and instead of picking straight down, pick down and a little bit (millimeters) out away from the face of the guitar so your picking motion is a sort of 'letter J' out from the face of the guitar and so the thumb brushes past the string and remember that the thumb should only touch the string for an instant just like the pick does.


This technique requires practice. Try executing pinch harmonics while fretting different notes and by striking the string in slightly different places all around the pickup area of the guitar. Many kinds of harmonic ringing sounds may be produced.


Without a pick, this technique may be simulated by plucking the string with the fingertip and lightly touching it with the fingernail, but this is even trickier and not very useful in practice.


These harmonics, as opposed to natural harmonics, end up being much more practical to use while playing and when mastered can be used boldly like Zakk Wylde making the harmonic part of the riff, or subtly and possibly unintentionally to add color and character to the notes or chords while playing almost anything.


Pinch harmonics can easily and effectively be combined with other techniques, such as bending or vibrato.