Tapping part 3: tapping tricks

Alright then; this lesson will look at some rarely used techniques in tapping. This will looking bending while tapping, sliding while tapping, sliding and bending while tapping and also performing both while jumping strings. This will be strenuous on your fingers if you are not used to tapping, so be warned.

Tab key:-

--4-- = pluck the string shown while fretting the string on the fret numbered

--h6- = hammer-on your finger onto the string on the fret numbered, doesn't require the string to be plucked

--p2- = pull-off your finger from the string shown to sound a note while fretting the string on the fret numbered

-8b9- = luck the string shown while fretting the string on the fret numbered, then bend the string until the note sounded becomes the same as the note sounded on the fret shown to the right of the b. E.g., 8b9 means pluck the string while fretting the string on the 8th fret, then bend the string one semitone/one fret higher in pitch.

-8b9r8- = same a regular bend but allow string to return to regular position on fret numbered; think of b as meaning bend, and r as meaning relax

--t12- = tap on the fret numbered firmly with one of the fingers in your plucking hand

-t9r5- = tap on the fret numbered firmly with one of the fingers in your plucking hand then release your finger from the string either by simply pulling it off or twanging it, but fret the string on the fret numbered to sound that note after the finger tapping the string has been removed

-mb7- = bend the string slightly after plucking the string number shown, but don't bend it so that raises the note in pitch by a fret.

/ = Slide finger(s) up the fret-board to the fret shown

\ = Slide finger(s) down the fret-board to the fret shown

--9v- = use vibrato by wavering the string up and down by bending it to get a sort of wavy sound

Firstly, here’s a quick reminder of a two typical tapping phrases: a minor triad (top) and a major triad (below).

E||------------------|------------------||------------------|------------------|
B||------------------|------------------||------------------|------------------|
G||-9--h12--t16--r12-|-9--h12--t16--r12-||-9--h12--t16--r12-|-9--h12--t16--r12-|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

E||------------------|------------------||------------------|------------------|
B||------------------|------------------||------------------|------------------|
G||-9--h13--t16--r13-|-9--h13--t16--r13-||-9--h13--t16--r13-|-9--h13--t16--r13-|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

Now onto how to use some sliding tricks in your tapping to get a different flavour out of your playing. Here’s a basic example of how to get some sliding into a tapping lick.

E||------------------|------------------||------------------|------------------|
B||------------------|------------------||------------------|------------------|
G||--9-h12-t16/17\16-|-r9-h12-t16/17\16-||-r9-h12-t16/17\16-|-r9-h12-t16/17\16-|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

Or you could combine this slide tapping with regular sliding as well. This is a much more advanced lick but it is definitely worth a try if you’re out to break away from the usual EVH style of tapping.

E||------------------|------------------||-h7--h8--h10--/12-|t15--/17--\15-r12-|
B||-h7--h8--h10--/12-|t15--/17--\15-r12-||------------------|------------------|
G||------------------|------------------||------------------|------------------|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

Next is probably one of the best tapping techniques there is, as it’s not possible to achieve the sounds of this technique with regular playing; this is tapping bending.

So why can’t other techniques match this one I’m about to go into? Simple; the human hand can only stretch so far, and by using tapping bending, you are able to get sounds that you brain interprets as being beyond what one hand should be able to do. You can’t achieve these sounds with regular conventional playing.

E||------------------|------------------||------------------|------------------|
B||------------------|------------------||------------------|------------------|
G||h7-h9-t16b19r16-r9|h7-h9-t16b19r16-r9||h7-h9-t16b19r16-r9|h7-h9-t16b19r16-r9|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

That should get you going on tapping bending. One question that comes up a lot with this is which hand does the bending? Well for me it’s always my fretting hand that does the bending while the tapping hand simply helps the string to follow the bend. Sometimes if my fretting hand can’t achieve the bend on it’s own then I’ll need the tapping hand to help out.

The only other thing for this lesson is combining these techniques to give your tapping even more of a unique twist. This is definitely a far cry from usual tapping and is a great way to break up a track if you still want to have some tapping in it but don’t want the sound that usual tapping gives you.

Here is an example that combines the two exercises that I’ve previously shown you in this lesson. This is probably going to sound quite quirky to some people, but if you stick at it then it will pay off. At the very least you will know whether you want it in your playing or not.

E||------------------|------------------||------------------|------------------|
B||------------------|------------------||------------------|------------------|
G||-h9--h12--h16-/17-|-\16--b19--r16-r12||-h9--h12--h16-/17-|-\16--b19--r16-r12|
D||------------------|------------------||------------------|------------------|
A||------------------|------------------||------------------|------------------|
E||------------------|------------------||------------------|------------------|

And that’s pretty much it for the added tricks of regular tapping. A lot of people probably don’t think of tapping as regular playing so they can sometimes forget to think of the basics when they use it. Always keep an open mind when learning anything, that way you will be able to decide for yourself whether to pursue it or not once you have a complete view of it. If you’re a metal player looking for a way to get a better solo, then this just may be your answer, and for those preferring clean tones, this can still be a worthwhile technique to learn. Try it for yourself and listen.

I hope this has helped some of you out there. Take care guys and I’ll see you next time!