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Some of my favorite harmonics are located between frets. There are two really cool ones between the 2nd and 3rd frets that I use a lot.

Harmonics are vibrations a fraction of the length of the vibrating string, which add higher-pitched and more complex content to the notes. With a dull instrument, the harmonics die out, but with a sustaining instrument, the harmonics continue to sound along with the fundamental note.

The easiest place to get a natural harmonic on any string is at the 12th fret. All you do is lightly rest one of your left-hand fingers on a string directly above that fret and then pick it.

I think when I began, I played distortion more than the guitar. The results of my strumming. Now I play the twang of the string, which is a lot closer to the source of the sound making.

I've been devoting quite a bit of my time to harmonic studies on my own, in libraries and places like that. I've found you've got to look back at the old things and see them in a new light.

Amplifying acoustic instruments more than a little is really cheating, and everything becomes a compromise.

I started doing all kinds of weird stuff on the guitar, which became part of my playing. I started doing harmonics and tapping on the guitar and pulling off strings and doing all this weird stuff that no one had ever done before.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

As a musician, I hear the harmonic value of everything - I just enjoy music.

Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.