Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.

In the late Fifties, Brazilian guitarist/pianist/vocalist Antonio Carlos Jobim took his fascination with jazz harmony and the guitar compositions of Heitor Villa-Lobos, combined it with influences as varied as composers like Debussy, Chopin, Ravel and Rachmaninoff, and helped give birth to a whole new style: bossa nova. (Translated from Portuguese, bossa nova means the “new way of doing” something.) This fresh-sounding, über-groovy, guitar-centric music (typically played on a nylon-string acoustic, accompanying a vocalist) required fluid fingerstyle chops, flawless time feel, a command of seventh and extended/altered chords—what’s known as “upper-structure harmony”—and the ability to improvise.

This month in "Hole Notes," Musicians Institute instructor Dale Turner tries to crack Steve Morse's elusive acoustic code.

This month's installment of "Hole Notes" features Musicians Institute instructor Dale Turner taking a close-up look at the many facets of Yes guitarist Steve Howe's acoustic guitar artistry.