There are 2 types of harmonics, but in truth, it is really a matter of semantics. Natural Harmonics are the harmonics produced on an open string with a light touch at specific places on the string. The easiest to produce is the simple octave harmonic found at the midpoint of the string, which is also where the 12th fret (octave) point is located. Divide this in half again (1/4 of the string length) and the tone produced is the same, but up another octave. The same holds for 1/8, etc. Dividing the string into thirds will produce the 5th, i.e., on a G string, the third point produces a D.

Artificial Harmonics are much the same as the natural ones except that to play these, one must first fret a note (any note). The location of the harmonics are the same, i.e., half of the resultant string length between the stopped note and the bridge will produce the octave harmonic. These are frequently "squeezed" out by plucking at approximately the octave up location while lightly touching the octave point with another finger or thumb. Guitarists and pick players often do this by extending their thumb or first digit slightly and plucking at the octave location. The "squeeze" is the opposing movement of the thub and forefinger simultaneouly on the string.

As stated earlier, there are more harmonics than just the simple octave, however, some of the harder to achieve harmonics are also out of tune. Therefore, just the basic natural harmonics within the first 12 frets are described. The reader can extrapolate all artificial harmonics as well as the natural harmonics higher up the neck (they repeat after the octave point, in the same mathematical approach of string fractions). Besides, those beyond the end of the fingerboard are hard to describe in a simple ascii chart.

Not all artificial harmonics lie exactly at fret positions either as can be seen below. In this chart, the actual octave may appear a bit vague (in parentheses) but the reader is encouraged to do these on their own bass anyway and listen to the quality of the note produced. Again, the lower fret positions are not exact.

String:     B      E      A      D      G      C


Fret & Scale step:
12 (VIII)  B(1)   E(1)   A(1)   D(1)   G(1)   C(1)


9  (III)   D#(3)  G#(3)  C#(3)  F#(3)  B(3)   E(3)


7  (V)     F#(2)  B(2)   E(2)   A(2)   D(2)   G(2)


5  (VIII)  B(2)   E(2)   A(2)   D(2)   G(2)   C(2)


4  (III)   D#(3)  G#(3)  C#(3)  F#(3)  B(3)   E(3)


~3.5 (V)   F#(3)  B(3)   E(3)   A(3)   D(3)   G(3)


almost 3   A(3)   D(3)   G(3)   C(3)   F(3)   Bb(3)
(VII-)
~2.5       B(3)   E(3)   A(3)   D(3)   G(3)   C(3)
(VIII)

Please note that on the 6 string bass, the entire chromatic scale is represented with these basic harmonics. The reader is encouraged to experiment with double stops and chords, including the mixing of natural notes and harmonics. The artificial harmonics such as those that can be produced by fretting a G (3rd fret) on the E string will have their harmonic counterparts approximately 3 frets higher (there will be slight differences especially for the higher harmonics).

To slide a harmonic note (fretted or fretless), play the harmonic, but instead of pulling away the finger that touched the string, press down and slide once the harmonic note is produced. It will help to emphasize treble and use bright strings. Finally, when playing the harmonics I have indicated as being at 3.5, almost 3, and 2.5, note that these are not exact positions and very bright string users will find other very close positions with different notes - some of them quite sour.