Tapping Exercise Guitar Lesson
Tapping Exercise
David MacKenzie introduces the tapping technique and teaches a fun exercise. This lesson includes a backing track.
Taught by David MacKenzie in Basic Electric Guitar seriesLength: 22:44Difficulty: 2.5 of 5
Tapping Basics
A. Guitarists to Check Out
Van Halen
George Lynch
Steve Vai
John 5 aka John Lowery
Kirk Hammett
Joe Satriani
Ron Thal aka Bumblefoot
Michaelangelo Batio
Stanley Jordan
Jennifer Batten
Billy McLaughline
Kaki King
Buckethead
Nuno Bettencourt
Paul Gilbert
Gary Moore
John Petrucci
Adrian Smith
Andy McKee
Michael Hedges
Reggie and Victor Wooten
Jeff Watson
B. Songs to Check Out
Ytse Jam - Dream Theater
A Fortune in Lies - Dream Theater
Pachendale - Iron Maiden
Flying High Again - Ozzy Osbourne (Randy Rhoads)
Crazy Train - Ozzy Osbourne (Randy Rhoads)
Jump Man - Buckethead
Jordan - Buckethead
Nottingham Lace - Bucketmead
Am I Evil - Metallica Version (Kirk Hammett)
One - Metallica (Kirk Hammett)
Eruption - Van Halen
Mean Street - Van Halen
Rock in America - Night Ranger
C. Tone
Most players prefer to use a high gain sound with the bridge pickup when playing tapping licks. Distortion compresses the signal of the guitar. As a result, notes played quietly sound slightly louder. Distortion also increases the overall sustain of each note.
It is entirely possible to perform tapping licks with a clean tone. When playing clean, you must tap more aggressively in order to produce notes that are appropriate in volume. Applying reverb and compression will help even out the volume and sustain of notes when playing with a clean tone.
D. Choosing a Tapping Finger
Tapping is typically performed with either the index finger or the middle finger. The third finger is occasionally used in certain rare situations. Both the index and middle fingers come with their own advantages and disadvantages. Most players find that it feels most comfortable to tap with the first finger. However, the pick is usually held with the first finger. Consequently, the pick must be tucked away somewhere in order to pick with this finger. Some players tuck the pick between the middle joints of the index and middle fingers. Others hold the pick between their teeth. Some players drop the pick altogether when tapping. When it comes time to pick notes, they simply grab a new pick.
Since the first finger typically holds the pick, many players prefer to tap with the middle finger. This allows you to tap without having to adjust your grip on the pick. Eddie Han Valen takes an interesting middle of the road approach. He frequently grips the pick between his thumb and middle fingers. This leaves his index finger free to perform tapping licks.
To begin with, Dave eliminates the pick from the equation altogether. This allows you to focus all of your attention on the basic mechanics of tapping. Spend a significant amount of time experimenting with both the middle and index fingers. Once you become proficient with the basic tapping mechanics, feel free to add the pick back in.
E. Economy of Movement
Economy of movement is key to playing tapping licks accurately at fast speeds. Keeping the fingers as close to the fretboard as possible at all times will ensure that each finger is prepared to play when called upon. Check out the following lessons for economy of movement exercises.
Matt Brown - Phase 2 Rock Lesson 1 - Most Important Exercise Ever
Danny Voris - Phase 2 Classical Lesson 4
F. Tapping Direction
There is no right or wrong direction when it comes to performing a pull-off with a tapping finger. Some players prefer to pull the finger straight downwards from the string towards the floor. Others prefer to flick the string upwards towards the ceiling. Experiment with both directions to determine which feels most comfortable for you.
The direction in which Dave pulls the finger off the string depends upon the context of the tapping lick. For fast licks, he usually pulls upward towards the ceiling. In slow passages, he may pull-off the string down towards the floor.
G. Hammer-on / Pull-off Basics
Model your right hand hammer-on technique after the hammer-on technique of the left hand. Use the hammering movement of the left hand fingers as a basis for your hammer on and pull-off technique with a tapping finger. The basic mechanics of these techniques remain the same regardless of which hand is used.
When performing a hammer-on, the velocity of the tapping finger will determine the volume of the tapped note. The density of your callus on the tapping finger will also have a small effect on volume. The tapping finger should never be higher than 1/2 inch from the fretboard regardless of whether you are about to perform a hammer-on or a pull-off. Raising the finger higher will only cause speed and accuracy problems.
When performing a pull-off with a tapping finger, the volume level is controlled by how far you flick the string up or down (towards the floor or the ceiling).
H. Muting
Open strings have a higher tendency to vibrate sympathetically when distortion is applied to a guitar tone. Consequently, you must mute unused strings. Most players typically mute the lower, unused strings by resting the palm of the right hand on them. Watch Dave in the lesson video for a demonstration of this technique. Occasionally, you may see a guitarist wrap a sock or a hair tie around the neck to help mute open strings.
I. Action
The height of the strings above the fretboard or "action" will impact the volume of tapped notes. If your action is set higher, you will need to use a more forceful hammer-on / pull-off movement in order to produce notes that are adequate in volume. Chapter 2: (04:44) Tapping Exercise In this scene Dave, demonstrates various arpeggio patterns that involve tapping. These arpeggio patterns will eventually be strung together and played as an exercise with a backing track.
A. Tapping Arpeggios
Typically, tapped licks outline a specific chord progression. Tapped arpeggios are played by a lead guitarist while another guitarist or the bass player supplies the chord progression underneath them. In most basic tapping examples, the arpeggio played by the lead guitarist is the same as the chord played by the rhythm section. This is not always the case however. Metallica's Kirk Hammett is known to play multiple arpeggios over a single chord played by the rhythm section.
B. Arpeggios in the Exercise
The exercise in this lesson begins with a root position arpeggio of Bm. A chord or arpeggio is played in root position when the root note is played as the lowest note. This B note is played at the 7th fret of the first string. The other notes in the arpeggio, D and F#, are played at the 10th and 14th frets respectively.
While resting the heel of the hand on the strings, pluck the first string to sound the B note. Then, hammer-on to the D note with the pinky finger. Finally, use the index finger of the right hand to perform a hammer-on. Pull-off with the tapping finger to sound the first note of the next beat. This basic pattern of hammers, pulls, and taps is applied to each arpeggio in the exercise.
Practice this pattern with the Bm arpeggio. Play in a steady eighth note rhythm along with a metronome. Do not proceed to the next scene until you can comfortably play through the basic tapping pattern used in the exercise.
Trill Exercise
To become acquainted with the basic tapping motion, practice performing a trill between any two notes on the same string. Dave demonstrates this exercise with the notes B and F# on the first string. Fret the B note with the left hand. Then, hammer-on to the note F# with the tapping finger. Pull-off with the tapping finger from F# back to B. Rapidly repeat this process to perform a trill. Watch at 02:30 as Dave demonstrates this miniature exercise.
Note: Tablature and standard notation to all lesson exercises can be found under the "Supplemental Content" tab. Chapter 3: (01:12) More on the Tapping Exercise G Major Arpeggio (1st Inversion)
A 1st inversion G major arpeggio is played next in the exercise. A chord or arpeggio is played in first inversion when the third of the chord is played as the lowest note. Within this arpeggio, the left hand continues to play the B and D notes on the first string. The tapping finger now must tap the note G at the 15th fret of the first string. This arpeggio is played in the 3rd and 4th measures of the exercise.
Chapter 4: (05:12) Next Part of the Exercise A Major (1st Inversion)
A first inversion arpeggio for A major is used next in the exercise. The third of A major, C#, is played by the left index finger at the 9th fret of the first string. The third or pinky finger hammers onto the note E at the 12th fret. Then, the right index finger taps the root note at the 17th fret.
All major and minor arpeggios can be tapped in root position, first, inversion, and second inversion on all six strings. Memorize the fretboard patterns for these inversions on all six strings.
Bm (1st Inversion)
The chord progression returns to the I chord (Bm) in measure 7. However, this time around, the arpeggio is played in first inversion. D is played as the lowest note at the 10th fret of the first string. The pinky frets F# at the 14th fret. The right hand taps the root note at the 19th fret.
Since the action gets higher as you move closer to the bridge, you may have to play with a slightly more deliberate and quick tapping motion.
D Major (Root Position)
Next, a root position pattern for D major is played on the second string. The left index frets the root at the 10th fret. The pinky hammers onto the third, F#, at the 14th fret. The right index finger taps the fifth, A, at the 17th fret.
A Major (Root Position)
After the D major arpeggio is played, the exercise jumps down to the second string. Now, an A major chord in root position is played on the second string. This A major arpeggio utilizes the same fret locations as the root position D chord played on the first string. Chapter 5: (03:14) Finishing up the Exercise G Major (Root Position)
G Major, the VI chord in the key of Bm, is used once again after the A major arpeggio. A root position arpeggio is used for G major on the second string. Simply slide each of the notes from the root position A major chord down two frets when playing the G major arpeggio.
In the final two measures of the exercise, arpeggios for Bm and Aadd9 are used. A root position Bm arpeggio is played twice on the first string. Then, three notes that imply an Aadd9 chord (A, C#, B) are played on beat 4 of the second to last measure. This arpeggio continues through the final measure as well.
Note: A full Aadd9 chord is spelled A, C#, E, B.
Practicing the Exercise
Work through the exercise by practicing two measures at a time. Make sure that you play along with a metronome. Then, begin to practice through the exercise as a whole. Do not leave a large pause between each arpeggio. Follow the rhythms indicated closely to make sure that you are playing the exercise correctly. Do not deviate from the rhythms indicated in the first page of the lesson exercises. Once you become an advanced tapper, you can experiment with various rhythms. For example, each arpeggio can be played in triplet or sixteenth note rhythms. Chapter 6: (04:04) Putting it Together Dave uses this scene as an opportunity to review each of the arpeggio shapes used in the exercise. Follow along closely with the fretboard provided in the top of the lesson video to make sure that you are note playing any incorrect notes. Chapter 7: (03:01) Song Demonstration Dave demonstrates how you can practice the exercise along with a backing track. Playing with the backing track will help you improve your rhythm and performance skills.
Note: A transcription of the entire backing track can be found under the "Supplemental Content" tab.
The backing track begins with an introduction section. Drums are played for two measures. Power chords are strummed and sustained for two measures each during measures 3-10. Then, the lead guitar part enters as the main section of the track begins.
During the first several repetitions of the main section, Dave plays the tapping portion in eighth notes. As the track continues, he varies the rhythm of each arpeggio. The order of the notes within each arpeggio is changed as well. Now, each arpeggio is played in a steady sixteenth note rhythm. Then, the exercise is played using the original arpeggio pattern in sextuplets. It will most likely take you several weeks if not months of practice before you are ready to tackle the sixteenth note and sextuplet variations. Dave switches back to a sixteenth note rhythm to close out the performance.
The outro section of the track features a vamp on the B5 and A5 chords. Refer to measures 3-4 of Lesson Exercises (pg. 3) to learn what Dave plays over this section.
Supplemental Learning Material
Basic Electric Guitar
Found in our Beginner Lesson SetsIn his Phase 1 series, David MacKenzie will walk you through the basics of rock guitar.
Lesson 1
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Basic Chord Progressions
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Notes, Chords and Arpeggios
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Speed and Coordination
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Double Stops
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The Minor Chords
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The Minor Scales
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Return to Pull-Offs
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Tapping #4: Diminished Lick
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Tapping #5
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Tapping #6
DMac returns to his tapping instruction with more advanced techniques.
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Chord Structures
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Octaves
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About David MacKenzie
View Full Biography
Dave MacKenzie has been playing guitar for 30 of his 45 years on this earth. Starting back when he was 14 years old, Dave picked up the guitar and started to learn from his oldest brother, who had played some guitar as well. Dave was hooked, and couldn't learn fast enough! Everything from the Beatles, Chicago, Ted Nugent, The Eagles, you name it, Dave was trying to play it.
Then as with a lot of players out there, Eddie Van Halen came along and changed the way guitar was played! Dave has been influenced by anyone he has heard play guitar, literally! Always keeping an open mind and a humbleness about him has helped him to keep learning new things on, and about the guitar.
Dave has mostly played in top 40 rock, country, and pop bands. He is most recently playing guitar and keyboards in a 80's metal band called Open Fire. They have opened for Warrant, Firehouse, Winger, and LA Guns
within the 3 and a half years they have been together, and are now jumping into original music.
Dave believes you should have internal motivation, and passion to play guitar, and most definitely, it should be fun!
As with his playing, Dave will find new ways to show you how to get the most out of your time learning guitar!
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.good lesson dave. umm i got a question though, when tapping on the 2nd string in 8th notes like in the song Am I Evil. I keep getting the 1st and 2 string muddled up. Because i have some trouble with the tapping finger and muting the other strings.
Dave, great lesson. Just when I thought I knew how to do something you showed me what I was doing wrong. Now just to get my coordination the way it should be. Thanks again!
your most welcome. keep after it, and you'll be flyin around the neck in no time.
I cant feel my pinky...
Dave, I find myself tending to use the 3rd finger on my left hand rather than my pinky when tapping. Should I spend a lot of time training myself to use my pinky instead at this stage or is it ok to let this be my one vice?
i too tend to use my 3rd finger, but it is good to get the pinky involved where you might need to stretch more to reach a note. usually on the lower frets. learn to to use both the 3rd and the pinky just in case.
Dave: these lessons are great. Please keep doing these lessons. I'm learning a lot & enjoy playing more. Good Work !
thank you for the comments. there are lots of ways to do tapping. this was just to get you guys/gals going. i have much more to show you, and hopefully motivate, and inspire you to do your own thing, as well make it easy to figure out other guitarist's techniques.
Great Lesson Thanks ! I don't know anything about the technique of Tapping. Is this lesson just the basic idea, or is this really how someone like Edy Van Halen does Tapping ? Joe
I'm trying to tap One solo at full speed but it doesnt sound as loud... it's like, I hit note number 1 of the tapping arppegio (I think that's what it's called) Than I can quickly tap the other two notes while holding note 1 but they won't sound as loud. When I'm doing it slower they are much louder though. Dmac didn't mention One at all during this lesson :P'
If you are doing some tapping and you find it hard to make more volume of what you're tapping, try heightening the pickup that you use primarily for the work your doing. By doing that, it will increase the output of the pickup however be careful not to make the pickup too high or else you might run into some problems like short sustains and very poor tone. If you do not know how to do this, try checking out the internet on how to make your p/ups higher. Adris
I had the same problem at first, but then i just practiced tapping quite a bit and I think the main reason is probably finger strength, at least that was my problem.
That is an awsome Captian America shirt by the way, good lesson to.
you
Great lesson Dave great to see back here !!!!! (you even mentioned us leftys LOL) Russ
This is fun lesson....Thanks Glad to see you back in action!
Sorry that i did'nt mention about what kind of volume and gain you need. actually though you should be able to sound out notes while unplugged, and even on an acoustic guitar. it takes patience to do this technique, i did'nt learn it overnight either. so just stick with it and you will get it.
More gain will definitely help. First and foremost however, you probably need more power going into the tap. The velocity at which your finger travels towards the string determines the volume of the tapped note. Once you develop some calluses on your tapping finger, the tone will naturally be louder as well.
Good lesson. Tapping is important in Metal soloing... But still, do I need more gain or something? Because I have a feeling I'm not doing it right.