| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 585.2 | makes you play like js bach | ERASER::BUCKLEY | Surrender Dorothy | Fri Apr 15 1988 16:17 | 13 |
|
Oh, ok...
I use two handed tapping a lot. I don't think the technique has
limited applications. I when I have a lick or a melody, I'll try
it in the two-handed fashion (over & under hand <^;) to see how
it can be developed. Basically, you can do basic arpeggios, or
any comination of moving the bottom, middle, and top notes (depening
on how many fingers you're using) between chord and scale tones.
Hey Mr. Camuso, you use this stuff?
wjb
|
| 585.3 | Wish I had THREE Hands ... | FSLENG::CAMUSO | localtime(t_ptr)->tm_wday > 5 ? party() : work() | Mon Apr 18 1988 07:54 | 33 |
|
Yeah, I use it ... not as much as I should. So far, I've only used
it for "effects" or to get linear arpeggios I couldn't do any other
way. To effect the latter, you play a major third interval with
the left hand and "tap" the minor third above that with the right
hand to get the major 5th. For a demented effect, you can do it
all in minor 3rds.
With scales, I use it occasionally to hit that last high tone I
so desperately want but can't reach any other way, and it only works
if everything else is working for me on a given occasion.
Stanley Jordan is the master of the two handed tapping technique,
though I don't care much for the selections he uses to showcase
it. Alan Holdsworth is another guy who's really got that stuff
down. When you listen to him, you can't even tell that's what he's
doin', he's got it so well integrated into his style.
Anyway, this technique is here to stay ... it's an extremely valuable
tool for extending "reach," not just for melody lines, but chords
as well. We'll be seeing a lot more of it.
Oh, and Bill ... you're a MONSTER with that shit!!
t
|
| 585.4 | A few tips n licks | MARKER::BUCKLEY | Surrender Dorothy | Tue Apr 19 1988 10:23 | 45 |
|
Something I always try to do so I'm not limited by ideas or technique
is invert any idea I get for tapping. Example:
T = right hand tap
S = left hand slide, usually from the finger number following it.
If I had this (Cute Em) lick happening...
(Finger) T 4 1 4 T 4 1 4 T
(Note) E B G B E B F# B E
(Fret) 12 7 3 7 12 7 2 7 12
But, then I could reverse the direction and get a new idea going...
(Finger) 1 4 T 4 1 4 T 4 1 4 T 4 1 4 T 4 1 4 T
(Note) F# B E B G B E B (G# B E B A B F# B A C# F#)
(Fret) 2 7 12 7 3 7 12 7 4 7 12 7 5 7 14 7 5 9 14
The part in parenthesis is what would probably be a logical extension
to me from the inversion of the other lick (modulation from Em to
F#m).
Here's an idea to kick around. It beats that ascending major arpeggio
thing that all the post Van Halen 14 year olds have worn out. (The
lick is based in A Mixolydian)
(Finger) S 1 2 3 4 T 4 3 2 1 S 1 2 3 4 T T2 T 4 3 S 1 2 3
(Note) A B C# D D# E D# D C# B A B C# D E F# G F# E D C C# D E
(Fret) 5 7 9 10 11 121110 9 7 5 7 9 10 121415 131210 8 9 10 12
(CONT.)
(Finger) 4 T T2 T 4 3 2 T 1 2 3 4 T S T2
(Note) F# G A G F# E D D# E F# G A B C C#
(Fret) 14 15 17 15 14 12 10 11 12 14 15 17 19 20 21
It's a cool lick. Only the end iss hard, but that's where I use
a method where the left hand isn't finished decending and the right
one tapsso the left can cross over it and start a new position.
Saves a big slide where you don't want the sound of a slide to be.
wjb
|
| 585.5 | From the start | MARKER::BUCKLEY | Surrender Dorothy | Tue Apr 19 1988 13:10 | 80 |
|
Re: .0
After re-reading the basenote, it looks like a rundown of the basics
might be in order.
To execute this technique, the left hand has to be adept at hammer-ons
and pull-offs. To develop the left hand's ability to do this, try
this simple excercize:
(Finger) 4 1 o 1 4 1 o 1 || repeat
(Note) B G# E G# B G# E G# :||
(Fret) 7 4 o 4 7 3 o 4 ||
(String) High E
After you get better at it, you can modify it to move between the
High E and the B strings (thus, you get a nice E major arp. moving
to a B major arp.).
(Finger) 4 1 o 1 4 1 o 1 4 1 o 1 4 1 o 1 ||
(Note) B G# E G# B G# E G# F# D# B D# F# D# B D# :|| Repeat
(Fret) 7 4 o 4 7 4 o 4 7 4 o 4 7 4 o 4 ||
(String) High E B string
This should strengthen your left hand for hammers and pulloffs going
both ways (ie ascending and descending notes).
Next, you should try incorporating the right hand tap note. You
can use either your index finger or your middle finger on your right
hand to tap (I use the index finger, primarily because I'll use
more than one finger on my right hand to tap and I don't want to run
out of fingers to use too quickly).
The right hand tap should come down with a lot of pressure and motion
onto the string (the hammer). It should then move off the string
in a sideways motion to pull the string and generate volume and
energy for following notes to sound (the pulloff). The pulloff on the
right hand is the key to making the whole effect sound smooth and
even.
NOTE: The pulloff on the right hand can be either a downward or
an upward motion. The most common is a downward motion (towards
the floor), but it changes depending on player preference.
It is very easy to pull off too quickly. Practice it at a very slow
and deliberate pace. You tend to sacrifice either the hammer or
the pulloff of the right hand when you do it too fast at first.
Here are three examples to practice this technique. The first is
an ascending arpeggio, the second is a descending arpeggio, the
third is an arpeggio with a back and fourth motion.
(Finger) T 1 4 T 1 4 T 1 4 T A MINOR
(Note) E A C E A C E A C E (etc.)
(Fret) 12 4 8 12 5 8 12 5 8 12
(String) High E
(Finger) T 4 1 T 4 1 T 4 1 T F MAJOR
(Note) F C A F C A F C A F (etc.)
(Fret) 13 8 5 13 8 5 13 8 5 13
(String) High E
(Finger) T 4 1 4 T 4 1 4 T Bb MAJOR
(Note) F D Bb D F D Bb D F (etc.)
(Fret) 13 10 6 10 13 10 6 10 13
(String) High E
That's a good start...just do it slow.
wjb
|
| 585.6 | | SCOMAN::WCLARK | voodoo mathematician | Wed Apr 20 1988 09:29 | 5 |
| re .6
so, finger tapping with your right hand is really an extension of
hammer-ons and pull-offs with your left hand? I never thought of
it that way. Thanks for the clear explanation, WJB!
|
| 585.7 | Hey, the old guy can play! | STAR::KMCDONOUGH | | Wed Apr 20 1988 10:00 | 9 |
| Thanks for the great explanation, WJB! I felt like I had missed
the boat as far as tapping was concerned, but it really doesn't
look difficult at all.
A little while to practice this and the teenagers in [favorite music
store] better watch out! 8-)
Kevin
|
| 585.8 | Low cost/performance ratio | DREGS::BLICKSTEIN | The height of MIDIocrity | Wed Apr 20 1988 10:28 | 19 |
| That's the great thing about tapping, it's got an incredibly low
cost/performance ratio. That's why you see so many "Eruption"
emulators in the music stores.
My first experience was tapping was having to learn Randy Rhoads'
solo in "Flyin High Again". I had expected it to take me weeks
(perhaps more) to learn the tapping part as I had never done it
before.
I just kept repeating the basic pattern starting slowly and building
up speed. It took me all of about a half hour to get it up to
speed playing it fairly cleanly! This astonished me. At my level
of playing (a very low level), I usually have to woodshed even simple
tunes.
I think every player should learn how to do it only because it's
so easy and gives you so much.
db
|
| 585.9 | More tapping madness... | MARKER::BUCKLEY | Surrender Dorothy | Wed Apr 20 1988 11:55 | 69 |
|
Here is the Randy Rhoads thing for those interested:
It's at the end of the solo to Flying High Again, off Ozzy's second release
Diary of a Madman. This section consists of major arpeggios played in
sextuplets (six notes over a beat, or two triplets-one per eighth note).
Each arpeggio is repeated 4 times...I'll list it only once hear to save
space (and sanity!).
A Major F Major D Major
(Fngr) T 4 T 4 1 4 T 4 T 4 1 4 T 4 T 4 1 4
(Note) A E A E C# E F C F C A C D A D A F# A
(Fret) 17 12 17 12 9 12 18 13 18 13 10 13 19 14 19 14 11 14
(Strg) High E B G
Bb Major E Major C Major
(Fngr) T 4 T 4 1 4 T 4 T 4 1 4 T 4 T 4 1 4
(Note) Bb F Bb F D F E B E B G# B C G C G E G
(Fret) 20 15 20 15 12 15 12 7 12 7 4 7 13 8 13 8 5 8
(Strg) D High E B
A Major F Major
(Fngr) T 4 T 4 1 4 T 4 T 4 1 4
(Note) A E A E C# E F C F C A C
(Fret) 14 9 14 9 6 9 15 10 15 10 7 10
(Strg) G D
As you can see, it's a pretty symetrical idea, both fingering and form
wise...the chords all move down in sixths.
Another aspect of tapping which I like to experiment with is inversions.
for example, with two hands on the neck, you can be playing to different
chord or scale inversions at the same time.
Here's and example of a chord inversion tapping thing:
D maj D maj
================ ----------------
| | | | | | | | | | o o - 10th Fret
---------------- ----------------
| | | o | o | | | o | |
---------------- ----------------
| | | | o | | o o | | |
---------------- ----------------
| | o | | | | | | | | |
---------------- ----------------
| o | | | | Chord form #2
----------------
Chord form #1
If you fret chord form #1 with the left hand, then tap (in any order you
like) the notes in chord form #2, you get this jumping D Major chord thing
going. You can further experiment to add tensions with the right or left
hand, as well as accidentals and scale tones with the right hand to provide
a `lead guitar over rhythm' of sorts.
Next time, scales in inversions!
wjb
|
| 585.11 | A further discussion on intervals... | MARKER::BUCKLEY | We Will Rock You! | Fri Apr 22 1988 11:07 | 77 |
| Ok, here is another aspect of two handed tapping. I like to refer to it
as `scales in intervals'. I though for the first example of this, we'd
look at an F Major scale in Third intervals:
(O = Root note of scale. o = scale fingering)
---------------- ----------------
1st - O o | | | O 1 5th - o o o o o o 1 (left hand
fret ---------------- fret ---------------- fingerings)
| | o o | | 1 o | | | O | 2
---------------- ----------------
o o O o o | 2 | o o o | | 3
---------------- ----------------
| | | | | | o O o | o | 4
---------------- ----------------
o o o o o | 4 | | | | | |
---------------- ----------------
Scale #1 Scale #2
You'd start by tapping the right hand on the first onte in scale #2. The
right hand would pulloff onto the first note in scale #1. Thus, you get
a descending major 3rd interval. Continue in this fashion...playing the
next note in scale #2 (tapped) and pulling off to the next higher note
in scale #1...viola, you have diatonic thirds.
(a short analysis would look like this:)
(Fngr) T 1 T 2 T 4 T 1 T 2 T 4 T 1 T 2
(Note) A F Bb G C A D Bb E C F D G E A F (Etc. Etc.)
(Fret) 5 1 6 3 8 3 5 1 7 3 8 5 5 2 7 3
(Strg) Low E A D
NOTE - You can either use one finger on the right hand to do ALL the tapping
in scale #2, or you can train the fingers on your right hand to do multiple
taps. As seen in ealier replies, I've stated this as (on the right hand)
Index - T(1)
Middle - T2
Ring - T3
Pinky - T4
Now that you have the idea, you can further expand your ideas with intervals.
Here is an example of a scale in Perfect 4th intervals (we'll use F major
again for comparison):
Scale #1 Scale #2
---------------- ----------------
1st - O | | | | O 1 6th - o | | | | o 1 (Or T1
fret ---------------- fret ----------------
| | o o | | 1 | o o o | | 1 T1
---------------- ----------------
o o O o o | 2 o O o | o | 2 T2
---------------- ----------------
| | | | | | | | | o | | 3 T3
---------------- ----------------
o o o o o | 4 o o o O o | 4 T4)
---------------- ----------------
Same rules apply as before. Use the same downward motion.
(Note - Here I'll list the right hand taps with the individual finger
technique. Notice the right hand fingerings as they relate to the scale)
(Fngr) T1 1 T2 2 T4 4 T1 1 T2 2 T4 4 T1 1 T2 2
(Note) Bb F C G D A E Bb F C G D A E Bb F
(Fret) 6 1 8 3 10 5 7 1 8 3 10 5 7 2 8 3
(Strg) Low E A D
That should give you some direction to get new licks going. All the diatonic
intervals apply here, you just need to work out what you like and where
you can use `em!
have fun...
wjb
|
| 585.13 | I tried, anyone else out there with ideas? | MARKER::BUCKLEY | We Will Rock You! | Fri Apr 22 1988 11:32 | 12 |
|
re: .12
Well, I tried to supply String, Fret, and the Finger to use (as
well as the note name itself, but that really doesn't matter if
you're just starting out). If you just take some time with it you
should be able to figure out some of those patterns. Its hard
because I don't know at what level people are at.
The only other method I could think of would be tablature on the
terminal, but it might be kinda hard for two handed things.
|
| 585.14 | Guitar neck poster? | CSC32::G_HOUSE | Greg House - CSC/CS | Sat Apr 23 1988 14:32 | 8 |
| RE: .12 Sorry you didn't catch it, do you have one of those guitar
neck posters, with all the notes listed out? I've seen them around
for about $5, seems like it might help with something like this.
RE: WJB, Thanks, thought the info you gave was great! I'm printing
it off and taking it home to play with.
Greg
|
| 585.15 | | SUBURB::DALLISON | Louder, I still have brain cells | Thu Aug 11 1988 09:57 | 17 |
|
I've been practising these exercise and have hit a problem:
I can't get my left little finger to hammer on hard enough for the
strings to make much of a sound.
I practise through an amp and am having no problem with the other
fingers, or with pulling off (even with my left pinky) but when
I hammer on with my left pinky I just get a rather pathetic sound,
much quieter than the rest of the notes.
BTW - Has anybody got the tapping solo to the beginning of Kiss's
NO NO NO ???
Thanx in advance.
-Tony
|
| 585.16 | Try this | PIWACT::JMINVILLE | Only a fool would say that | Thu Aug 11 1988 13:25 | 20 |
| Yo Tony,
There's a couple of exercises you can use to strengthen your pinky
for hammer-ons. They were taught to me by a *famous* (or infamous,
if you will) member of this conference...
o Place the four fingers of your left hand on consecutive
frets on the high E string; to exercise your pinky (and
third finger too), lift off your third finger leaving
all of the others depressed on the string; now depress
your third finger and SIMULTANEOUSLY lift off your pinky;
repeat as many times as you can; this is a good exercise
for all pairs of fingers (i.e. 1&2,2&3,3&4,1&3,1&4,2&4);
o Practice trills going up and down the strings, but staying
on the same frets; do with with all pairs of fingers.
Probably the best thing to do is just practice the sh!# out
of the tapping w/hammer-ons exercises.
joe.
|
| 585.17 | | SUBURB::DALLISON | Louder, I still have brain cells | Fri Aug 12 1988 09:27 | 12 |
|
Hi Joe, thanks for the advice. I'm assuming you mean ol' Buck when
you say 'infamous'.
I'm gonna print it off and play with it over the weekend.
BTW - I was practising descending/ascending trills anyway, so I guess
I should just stick at 'em and PRACTICE !!!
Cheers,
-Tony
|
| 585.35 | TWO HAND TAPPING | TRUCKS::LITTEN | | Mon Jul 31 1989 09:57 | 12 |
| I am interested in gathering a few licks on two-hand tapping, are
there any regular exponents who would care to share the tab?
I recently saw a great local guitarist, and he seemed to pull out
some great, across the neck, two hand, bluesey arps/runs. Any offers ?
Can any one recommend a good video on this topic ?
Thanks in advance,
Dave.
|
| 585.36 | | MARKER::BUCKLEY | Wicked rad guitar sound | Mon Jul 31 1989 10:19 | 3 |
| Check out vid's by Steve Lynch, Paul Gilbert, and Michael Angelo
for tapping instruction.
|
| 585.37 | Tapping and Classical Artificial Harmonics | VLNVAX::ALECLAIRE | | Mon Jul 31 1989 10:55 | 25 |
| tapping can get into a rut if you use alot of chromatic stuff;
It can sound just right using scales or chord changes. I use all
4 fingers of the right hand to tap ( notable exception
to proper clssical technique) , you can also get into tapping
on more than 1 string at a time. When I first learned to tap,
I got a sore index finger until it hardened up a bit.
Another interesting thing which is similar is artificial harmonics.
It seems the terminology from classical and non-classical technique
varies here, so this is what a classical player means when he refers to
artificial harmonics. A string is stopped, say at the 2nd fret.
The plucking hand index finger touches the string at a harmonic
interval, say the octave at the 14nth fret. The sound is made then by
plucking the string with the 3rd, or anular finger while the touch is
being made at the 14nth.
Now imagine a crazy dude making artificial harmonics while stopping
chords , throwing in a tap her n there. This is kinda hard, because
you really have to watch where both your hands are on the fingerboard.
But I've never heard anybody but myself do it. That means of course
I don't hear everything going on.
The point is your pretty close to being in a position to produce
artificial harmonics in this way during alot of tappnig runs, so
why not hit them up every so often?
|
| 585.38 | see note 585 for more | FROST::SIMON | Gary Simon - Aquarius Systems Quality | Tue Aug 01 1989 13:44 | 6 |
| See not 585.0 585.n for more info.....
Moderator, maybe move this discussion there?
_gary
|
| 585.39 | | CHEFS::DALLISON | | Wed Aug 02 1989 09:51 | 31 |
|
When starting out, the key to good smooth tapping is strength in
your right hand and to mute all the unused strings.
The trick to build up your strength is to literaly grab the neck
with your (right hands) thumb and ring finger whilst curling the
pick in your first finger (the sounds very awkward but its easy
with practise - what I did was sit there watching TV and curling the
pick round until I could do it without thinking about it). Play
some very slow tapping stuff and really power your finger down hard
and make sure you pull off smoothly. Of course, you can always
put the pick in your mouth or something but if you are blazing away
at 200mph and you want to put in a few tapping licks its difficult
to look cool with a pick in your mouth ( 8^) look at Vito Brata!),
also you could choke on it !! Players such as Randy Rhoads tap with
their pick, because he grew his nails long for classical playing, but
the majority (I think) use a finger. I personnaly prefer to use my
index finger so I can still hold a pick (and not choke on it!) and
alternate between picking and tapping quickly.
So, the way the muting works is that if you are tapping on the high E
you would mute the E,A,D,G,B strings with the palm of your right hand,
whilst playing the E. If you were tapping on the B then you would
mute the E,A,D,G with your left hand, and mute the high E gently with
your first finger (even if its fretting - you can still use it to
fret a note AND mute a string, with practise). With practise you can
play quickly over all six strings muting the unwanted strings.
Just a few tips (geddit ? fingers ? tips ? 8^) ).
-Tony
|
| 585.40 | a good arguement for the middle finger | MARKER::BUCKLEY | just turn back a page... | Wed Aug 02 1989 10:15 | 19 |
| I second the idea of using your middle finger--right hand to tap. That
way, you can sweep pick and tap without a lot of fuss. Below find a
neat arpeggio example of this technique:
A minor
s h h T p p s s h h T p p s s h h T etc.
e |----5-7-8-12-8-7-5---------8-10-12-17-12-10-8------------12-15-17-20-17
b T |---5--------------5------10------------------10--------13-------------
g |--5----------------5----9----------------------9-----14---------------
d A |-7------------------7-10------------------------10-14-----------------
a |----------------------------------------------------------------------
e B |----------------------------------------------------------------------
s = Sweep pick
h = Hammer on
T = Tapped note
p = Pull off
Have fun with this ditty
|
| 585.41 | | CHEFS::DALLISON | | Wed Aug 02 1989 10:41 | 7 |
|
Opps !!!
I made a boo boo !!!
What I meant is that you would mute the E,A,D,G,B strings with the palm
of your RIGHT (tapping) hand, not your left (as I said in .4).
|
| 585.18 | | UPWARD::HEISER | trimmed & burnin' | Mon Jul 23 1990 14:55 | 7 |
| Re: -1
Pardon my ignorance, but what's a trill? Anyone have "Eruption" in tab
that they could send me?
Thanks,
Mike
|
| 585.42 | | UPWARD::HEISER | trimmed & burnin' | Mon Jul 23 1990 15:00 | 6 |
| Re: .4
Tapping with the tip of your pick sure provides some interesting
sounds. It sounds like you're playing at the speed of light ;-)
Mike
|
| 585.19 | | ICS::BUCKLEY | Faith No More | Mon Jul 23 1990 15:05 | 2 |
| A Trill is a rapid alteration between two notes. Like holding an A
and tapping a B a whole step above it repeatedly.
|
| 585.20 | | VLNVAX::ALECLAIRE | be Excellent to each other! | Mon Jul 23 1990 15:37 | 16 |
| re -2 send me yer address and ill do it!
The proper way to play trills on classic guitr is
hold an A on the 2nd fret with 1, and slur up to te Bb with 2,
then slur down to A then slur up to the Bb with *3* !!
Therefore you are playing a 1/2 step all by hammereing off and on,
and you are alternating the finger doing the hammering. This is faster
once you get used to it.
As buck says, on the electric tapping is another way to trill,
and by combining the techniques you get some really spaz sounds.
Baroque trill are usually started with the higher note of the two,
a down trill rather than the lower. This will impress the snobs.
|
| 585.21 | | BSS::COLLUM | Oscar's only ostrich oiled an orange owl today | Tue Jul 24 1990 13:32 | 5 |
| I gotta ask ;^)
What's a flutter? Just another name for a trill?
Will
|
| 585.22 | kindof like a flutter | VLNVAX::ALECLAIRE | be Excellent to each other! | Fri Jul 27 1990 10:12 | 3 |
| that's something I've never heard of, although when I pull my bich plug
1/2 way I can get it to sound like a motorcycle when I tweak my knob
|
| 585.23 | | CHEFS::DALLISON | Love: the long road to pain | Fri Aug 17 1990 09:45 | 16 |
|
I remember seeing a definition of a flutter somewhere, but I can't
remember what it is.
Has anyone tried that technique of trilling and tremoloing picking at
the same time ?
My band are doing a cover of (the 1987 version of) 'Crying in the Rain'
by Whitesnake and I had the solo all figured out, except for the very
last part. It sounded to me that he was trilling and tremoloing picking
a decending (harmonic/natural minor?) scale at the same time, but it was
pretty fast.
Anyway, I cheat and just trill it 8^).
-Tony (oh to have some decent chops!)
|
| 585.43 | | CHEFS::DALLISON | Love: the long road to pain | Fri Aug 17 1990 09:48 | 9 |
|
The only advantage I find that tapping with a pick can provide, is when
you use it for rapid slides down the fret board, between taps (al Harry
K Cody of Shotgun Messaih). Other than that, personally, I find it a bit
cumbersome and prefer to use my fingers. Having said that, I've never
been a tapping freak anyway.
Cheers,
-Tony
|
| 585.24 | Variations | DREGS::BLICKSTEIN | This is your brain on Unix | Tue Aug 21 1990 18:18 | 13 |
| Haven't seen simultaneous trilling and tremoloing but Steve Morse
regularly does this thing during the guitar solo segment of his
concerts where he trills with the left hand on one string while
tapping on other strings with the right.
The idea is probably hard to imagine if you haven't seen it, but the
idea behind the trilling is to create a musical background over which
you tap a melody.
Van Halen came up with the AWESOME low cost/performance trick to
simulate spanish style finger-picked tremolo in the intro to "Little
Guitars". He tremolo picks a low string while hammering a melody
on higher strings.
|
| 585.25 | Opps! I meant does he fret the low (bass) parts ? | CHEFS::DALLISON | Love: the long road to pain | Wed Aug 22 1990 09:42 | 11 |
|
>> Van Halen came up with the AWESOME low cost/performance trick to
>> simulate spanish style finger-picked tremolo in the intro to "Little
>> Guitars". He tremolo picks a low string while hammering a melody
>> on higher strings.
Does he use open strings, or does he actualy fret the seperate
melody and bass lines ? Any examples floating about ?
Cheers,
-Tony
|
| 585.26 | | FACVAX::BUCKLEY | Third generation got nuthin to say! | Wed Aug 22 1990 10:08 | 5 |
| He tunes his high E string to F#, and tremolo picks it with a pick.
he then hammers the bass notes on with his left hand on the bass
strings.
simple.
|
| 585.27 | | DREGS::BLICKSTEIN | This is your brain on Unix | Mon Sep 24 1990 17:59 | 12 |
| Actually, no retuning needed. I do it with a regular EADGBE tuning.
> Does he use open strings, or does he actualy fret the seperate
> melody and bass lines ? Any examples floating about ?
Well, not really "fretted" - more like "hammered".
There's no "bass line". The melody line is hammered with the left
hand, the tremelo part is picked with the right.
It's really cool because it sounds so hard, and yet it's really easy
because of the trick.
|
| 585.28 | I was also surprised at how easy it is | PNO::HEISER | Smaq Iraq | Mon Jan 28 1991 12:31 | 6 |
| I had my instructor clue me in on this last week. I have the motion
down and am working on speeding things up a bit.
Notes in here are making more sense now. ;-)
Mike
|
| 585.29 | Two Handed Tapping Primer | PNO::HEISER | Smaq Iraq | Wed Jan 30 1991 12:28 | 20 |
| Another technique that is difficult to type about, but easy to show.
This is mainly geared to those (like myself) that are REAL new to this
technique.
Start off with a pattern on 1 string just to get the motion down. For
example, on the high E string, place your left index finger on the 5th
fret. Anchor your right hand on the top of the neck near the 12 fret
(practice with your pick and hammer with your middle finger). The
motion is as follows: Hammer with right middle finger on 12th fret,
pull off to the fretted 5th fret, hammer with the left pinky onto the
8th fret. Now comes the important transition: you sort of have to
simultaneously pull the pinky off and re-hammer with the right middle
finger to start the sequence again. There should be a total of 3 notes
played! Start off S L O W L Y to get the motion down. You can speed
up later once you have the motion.
Once you get that bit down, we can start some scale exercises using
both hands...
Mike
|
| 585.30 | Hammahtime | GOES11::G_HOUSE | Hey! Where's my TONE??? | Wed Jan 30 1991 12:36 | 1 |
|
|
| 585.31 | Primer Exercises | PNO::HEISER | Smaq Iraq | Wed Jan 30 1991 12:51 | 55 |
| Let's use a Minor Pentatonic scale to apply what you've learned so far
across all strings. Perform this exercise:
5th fret 1 1 1 1 1 1 I said before to anchor your hand near the
| | | | | | 12th fret. This will mute unused strings and
| 3 3 3 | | also increase your speed. Obviously, it has
4 | | | 4 4 to be moved though as you approach the low E
| | | | | | string.
| | | | | |
| | | | | |
12th fret T T T T T T
Here's another exercise that will get you started on moving the right
(tapping) hand around:
| | | | 1 1 5th fret
| | | | | |
| | | | | | Here you'll move the right hand around to form a
| | | | 4 4 box. Starting on the high E, T1 is your first tap,
| | | | | | T2 is your second. You'll go high E 12th fret, 13th
| | | | | | fret, B string 13th fret, 12th fret, then back to
| | | | | | the high E string to repeat.
| | | | T2T1
| | | | T1T2 13th fret
After you're comfortable with that, introduce more fingers into the
left hand patterns. Here's another exercise for that:
| | 1 1 | | 4th fret
| | 2 2 | |
| | | | | | After the initial right hand tap, you pull off to
| | 4 4 | | the 4th fret, hammer your left middle finger onto
| | | | | | the 5th fret, hammer your left pinky onto the 7th
| | | | | | fret and repeat.
| | | | | |
| | | | | |
| | T T | | 12th fret
I noticed when tapping to an open string or using single notes with the
left hand, it is easier/faster to use the left middle finger than the
left index finger. Here are some exercises for that, starting on the
high E string (remember the right hand hammers the 12):
- 12 open 10, 12 open 8, 12 open 7, 12 open 5, 12 open 3, 12 open 2
- 12 10, 12 8, 12 7, 12 5, 12 3, 12 2
Using the above, you can work in 3 finger combinations and pairings:
- 12 8 10, 12 7 8, 12 5 7, etc.
After all of the above exercises, you should pretty much have the idea
and motion down. Hope this helped somebody...
Mike
|
| 585.32 | | CAVLRY::BUCK | Love's not safe | Wed Jan 30 1991 13:27 | 18 |
| and a two-handed concept I like to endorse is something along the
theory below:
| | 1 1 | | --- 2nd fret
2 2 | | 2 2 t = tap
| | | | | |
4 4 4 4 4 4
| | | | | |
| t t t | |
t | | | t t
e--------------------------------8-3-5---- A minor pentatonic tapping
b--------------------------8-3-5----------
g--------------------7-2-5----------------
d--------------7-2-5----------------------
a--------7-3-5----------------------------
e--8-3-5----------------------------------
|
| 585.33 | more scales to tap | PNO::HEISER | Smaq Iraq | Wed Jan 30 1991 13:55 | 4 |
| I forgot to mention, you can try this out on any of the Pentatonic
and/or Blues scales I posted in 1754.last yesterday.
Mike
|
| 585.34 | simple application from Satriani | UPWARD::HEISER | altar of pain | Fri Feb 08 1991 15:48 | 17 |
| While the exercises in here are great for developing technique, I
always get more out of actual applications. Here is a variation on the
exercise at the bottom of .31 that Joe Satriani uses on "Always with
Me, Always with You" (Surfing with the Alien album). This is the 2
handed tapping section in that song. It is all done on the B string
and the tapping hand only hammers on the 12th fret:
12-11 12-0-9 12-0-7 12-0-9 12-0-5 12-0-7 12-0-9 12-0-7 12-0-5 12-0-7
12-0-7 12-0-7 12-0-11 12-0-11 12-0-9 12-0-7 12-0-9 12-0-7 12-0-5
12-0-7 12-0-9 12-0-7 12-0-5 12-0-4 12-0-2 12-0-2 12-0-2 12-0-2 12-0-11
12-0-11 12-0-9 12-0-7 12-0-9 12-0-7 12-0-5 12-0-7 12-0-9 12-0-7
12-0-5 12-0-4 12-0-5 12-0-5 12-0-5 12-0
|
| 585.43 | | CHEFS::DALLISON | Stick it to ya! | Thu Feb 21 1991 09:05 | 23 |
| 585.44 | | CHEFS::DALLISON | Stick it to ya! | Thu Feb 21 1991 09:06 | 23 |
|
I don't understand why some people (such as Steve Lynch) bother with
taps. They obviously use it just for the sake of it. The best way to
use tapping is for stuff like bends and slides etc.., because its
difficult to get that sort of sound without tapping. Most of the
tapping licks I've ever seen can be played using straight legato and
switching strings.
If you play the following position in taps, and then move it down from
the low E to the high E it sounds pretty cheezy and boring.
h h t
-9-12-15-
But if you play it without taps like...
h h h
-9-12-15 (continue on E, A, D, G, B, E strings)
... it sounds pretty cool (very Holdsworth-ish).
-Tony (who's starting to think that all this tapping lark is getting
lame)
|
| 585.45 | some new stuff to try | FRETZ::HEISER | haveno shalom alechem | Mon Apr 20 1992 14:45 | 14 |
| The instructor I've been working with over the last 9 months, has had the
privilege of sitting in on some Steve Vai sessions at GIT in addition to private
lessons with Jennifer Batten (back in her days of straight hair and glasses ala
Millie the Nerd). Some of the 2-handed tapping you hear from these 2 isn't
all credited to the H3000. They do some creative right-hand "mirroring" of
what the left-hand does.
Jennifer is especially creative/coordinated/ambidextrous. She'll do her
left-hand hammer-ons starting on the high E string, and the right-hand
hammer-ons starting on the low E string. The left and right hands move in
opposite directions and pass each others as they go thru the scale. Especially
tough to do when you're chewing gum at the same time!
Mike
|
| 585.46 | | NEWOA::DALLISON | | Fri May 15 1992 05:52 | 8 |
|
When thing I've been trying recently is tapping the same note as your
left hand is hammering, sort of alternating between each finger opon the
same note but in quick succession. You can get some interesting stuff
if you combine these trills with regular tapping stuff ( slides, bends
two fingers and using you nose etc... ;^) ).
-Tony
|
| 585.47 | | CAVLRY::BUCK | Hearts of the Wild! | Fri May 15 1992 08:28 | 4 |
| -1
That's a Mikey Heiser trick!!!
8^)
|
| 585.48 | {blush} | FRETZ::HEISER | ask me | Fri May 15 1992 10:31 | 1 |
| oops my secrets out!
|
| 585.49 | YOU too can play like Mikey Heiser! | CAVLRY::BUCK | Hearts of the Wild! | Fri May 15 1992 10:43 | 5 |
| I'm well on my way to transcribing all of the (incredible) Mikey Heiser
guitar solos from the Vessell/Joyful Noyz tape. Anyone wanna see TAB
for this stuff when I'm done?? 8^)
me
|
| 585.50 | actually started doing it for a friend | FRETZ::HEISER | ask me | Fri May 15 1992 11:21 | 2 |
| I also started doing that. "Greater is He" is almost done. We can
compare notes ;-)
|
| 585.51 | scary stuff, huh kids? | CAVLRY::BUCK | Hearts of the Wild! | Fri May 15 1992 12:47 | 3 |
| RE: Comparing notes...
Oooh, my ear better be "on" 8^)
|
| 585.52 | | NEWOA::DALLISON | | Mon May 18 1992 01:34 | 5 |
|
I'd be interested - how fast is this guy Buck ? Gimmie a speed to work
to. Some of us slow hands need something to aim at 8^)
-Tony
|
| 585.53 | ...which is pretty fast | CAVLRY::BUCK | Hearts of the Wild! | Mon May 18 1992 07:39 | 1 |
| Mikey Heiser's speed is about where Yngwie was at on the Steeler album.
|
| 585.54 | | NEWOA::DALLISON | | Tue May 19 1992 01:23 | 2 |
|
Hmm...
|
| 585.55 | Sounds cool | GOES11::G_HOUSE | Under my wheels | Tue May 19 1992 21:45 | 4 |
| Count me in on the Mikey TAB. I'll never be able to play it, but it'd
be interesting to check it out.
Greg
|