Harmonic Satch-uration

In 1984, when Joe Satriani came out with the entrancing self-titled slab of vinyl that would be his first solo release, harmonics at 12th and 7th frets had already been featured prominently on many a rock recording. (Think “Roundabout,” by Yes, or Heart’s “Barracuda.”) Ever the innovator, though, Satch cleverly combined the chimey overtones at these two neck positions with C and D bass notes played on the low string—just as the faux-salsa D Mixolydian groove presented here does—and earned the respect of just about every guitarist who heard his captivating E.P. (Tip: For a three-dimensional, layered sound, let the harmonics ring for as long as possible while cutting off the bass notes as notated.)
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