Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Ex. 1 is based around the A Aeolian mode (ABCDEFG) and works great over an A minor groove. The trick here
is to hold the bend while tapping notes up the string. Remember: Keep your bends in tune so the tapped notes will be
in tune as well.
Ex. 1
Moderately q = 120
* Am
+
+
+
+
&4 J
mf
1 T
hold bend
T
10
12
+
n
14
15
14
+
n
w
hold bend
T
5 7
7 7 5
*Chord symbol reects basic harmony.
Ex. 2 is a classic EVH-style tapping lick thats based around three-note-per-string arpeggio patterns on the 1st
string. As you play through the progression, notice how were using voice-leading to change only the most
essential notes with as little movement as possible.
Ex. 2
Moderately fast q = 135
Am
4
& 4
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
F
mf
T
T
T
T
T
T
T
T
12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8
T
T
T
T
T
T
T
T
13 5 8 13 5 8 13 5 8 13 5 8 13 5 8 13 5 8 13 5 8 13 5 8
1.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
#
&
E/G#
T
T
T
T
T
T
T
T
10 3 7 10 3 7 10 3 7 10 3 7 10 3 7 10 3 7 10 3 7 10 3 7
T
T
T
T
T
T
T
T
10 4 7 10 4 7 10 4 7 10 4 7 10 4 7 10 4 7 10 4 7 10 4 7
2.
+
+
+
+
+
+
+
+
#
E/G#
&
6
T
10
6
T
10
T
10
6
T
10
T
10
6
T
10
T
10
T
10
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
The late, great Randy Rhoads inspired Ex. 3. Its the same basic idea as before, but this time we are descending by a
major third (AFDbA) each time we shift chords.
Ex. 3
Moderately fast q = 135
Am
Fm
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
4
&4
6
6
6
6
6
mf
T
T
T
T
T
T
T
T
12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8 12 5 8
13 6
9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9
Am
+
+ + + + + + +
b + + + + + + + +
b
w
&
w
w
6
6
6
6
6
6
6
6
Dbm
13 6 9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9 13 6 9
2
2
0
14 7 10 14 7 10 14 7 10 14 7 10 14 7 10 14 7 10 14 7 10 14 7 10
In Ex. 4 we combine two adjacent pentatonic shapes in the key of A minor. The fretting hand covers the basic
pentatonic box at the 5th fret, while the tapping hand strikes notes found within the next box up the neck. The new
wrinkle is that we are now using hammer-ons from nowhere. These are simply notes that are sounded by tapping with
a fretting-hand finger.
Ex. 4
Moderately fast q = 135
* Am
6
+
+
+
6
+
6 +
+
+
+
&4
mf
T
10
T
10
10
*Chord symbol reects basic harmony.
10
10
10
+
+
+
6
+
+
+
+
+
+
3
&
6
6
6
T
T
10
9
10
10
T
5
10
T
10
5
T
10
10
T
10
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Our next tapping lick (Ex. 5) is based on something that Extremes Nuno Bettencourt might play. It demonstrates
just how far patterns can be extended with two-handed tapping. We continue with our hammer-ons from nowhere
each time we move to a new string.
Ex. 5
Moderately fast q = 135
Am
4
&4
&
&
20
17
17
20
19
19
19
17
T
5
19
20
T
17
6
T
17
17
6
T
17
17
T
5
17
17
6
T
17
19
T
20
mf
loco
8va
19
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
We stick with the key of A minor for Ex. 6, which is straight out of Greg Howes bag of tricks. This lick demonstrates
how to work through three-note-per-string patterns with traditional tapping and hammer-ons from nowhereone of
Howes signature techniques.
Ex. 6
Moderately fast q = 135
Asus2
+
+
+
+
+ +
4
&4
6
6
6
6
mf
T
15
12
T
12
10
13
10
T
15
T
13
10
13
T
12
10
10
T
10
10
T
13
T
10
10
+
6
+
+
+
+ +
+
+
&
6
6
6
T
10
+
&
T
8
10
T
10
T
8
T
9
T
7
T
5
10
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Ex. 7 is based on an idea from guitar ace Reb Beach. The work that Beach does in both Winger and Whitesnake offers
a wealth of blistering tapping licks. In this example, we stay on the top two strings and move through the A minor
pentatonic scale (ACDEG). Once you have the pattern down, try moving it to other strings.
Ex. 7
Moderately fast q = 135
+
+
+
+
+
+
+
4
&4
*A5
mf
T
8
&
T
8
T
8
T
10
3
T
10
10
+
+
+
+
+
+
+
6
T
12
10
6
T
13
T
12
8
10
10
6
T
13
T
15
8
10
10
13
15
T
15
10
13
10
13
T
15
15
10
13
10
6
T
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Reb Beach also inspired Ex. 8. The lick is a lengthy run in E Dorian (EF#GABC#D) thats based around a
series of four-note-per-string patterns. This figure is quite difficult and there are a lot of notes, so try to minimize
extraneous noise when crossing strings.
Ex. 8
Moderately fast q = 135
Em
+
+
+
+
+ +
+ +
#4
& #4
mf
T
19
17
T
17
15
15
14
T
15
17
14
T
19
T
17
15
17
T
15
14
15
14
12
17
T
15
14
15
14
12
+
+
+
+
+ + + +
##
&
6
T
14
14
12
T
16
T
14
12
14
T
12
11
12
T
11
14
T
12
11
12
11
6
6
+
+
+
+
6
+
+
+
##
&
6
12 11
11
11
T
9
10
12
9
9
10
12
12 14 12 10 12 10
14
9
12 14 12 10 12 10
12
11
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
We turn to the legendary Mr. Big axeman, Paul Gilbert, in Ex. 9. This is a long ascending phrase that flows smoothly
through the E Aeolian mode (EF#GABCD). It totally would fall in line with something you might hear Gilbert play
on a Racer X album.
Ex. 9
Moderately fast q = 135
+
+
+
#4 +
& 4
Em
+
+
+
+
mf
T
5
5
T
8
&
11
T
5
10
12
10
T
15
10
12
10
10
T
7
12
T
8
8
10
T
10
T
12
10
12
14
12
+
+
+
+
+
+
+
+
T
14
+
+
+
+
#
&
T
T
17
14
15
14
T
19
15
17
15
J
15
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Lets take another look at something in the style of Greg Howe (Ex. 10). Howe often performs three-note-per-string
runs using tapping, and here we work through the E Dorian mode again. Because the basic pattern is quite simple, it
would be easy to move to other keys.
Ex. 10
Moderately fast q = 130
Em
+
+
+
+
+
+ +
+
## 4
& 4
6
6
6
6
mf
T
19
T
17
T
17
15
19
17
T
15
T
15
14
15
17
15
T
14
12
14
15
14
12
14
12
11
14
+
##
&
T
12
T
11
10
12
9
12
11
9
12
10
9
12
12
12
11
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
We can hardly do a column on tapping without looking at one of the instruments all-time wizards, Steve Vai. I love Vais
immense tapped runs, and Ex. 11 is a prime example of his fretwork. This lick uses the E Aeolian mode and covers nearly
the entire fretboard. Try breaking down this lick into easy-to-digest segments before joining them together.
Ex. 11
Moderately q = 100
+
+
+
+
+
+
+
#4 +
& 4
Em
mf
T
&
T
9
9
7
7
T
4
T
7
11
+
+
+
+
+
+
+
#
T
12
&
T
12
7
T
10 12 10
T
14
T
8
T
T
15 10 12 14 17 15 14 12
10 12
10
15 10 12 13
T
19
17
15
14
T
17
T
15
13
17 15 13 12
12
14
12
11
9
12
10
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
One of the most underrated guitarists of the shred era was Todd Duane, and Ex. 12 is a demanding lick I copped from
him. Were using a four-note-per-string pattern along with some string skipping. This challenging lick is really potent
when you work it up to speed.
Ex. 12
Very fast q = 185
+
+
+
+
Am
+
+
+
+
4
&4
mf
T
13
12
12
10
10
12
12
5
10
12
12
T
12
5
10
10
10
&
15
12
10
8
14
12
7
12
10
5
8
Ex. 13 is one of my favorite approaches to tapping arpeggios, and is similar to what underground shredder
Darren Housholder might play. The big change here is that were playing groups of five, or quintuplets, with a
double-tap technique. The first two measures outline an A major arpeggio, and the last two cover an F#m
arpeggio.
Ex. 13
Moderately fast q = 145
A
+ +
+ +
+ +
+ +5
+ +
+
+
#
# 4

5
5
5
5
mf
T
T
T
T
17 12 17 12 9 12 9 12 9
10
14 10 14 10
14 9 14 9
11
14 11 14 11
12
16 12 16 12 7
+ +
+ +
+ +
+ +5
+ +
+ +5
#
##
&
5
5
5
F#m
T
14
T
14
T
9
T
9
T
10
T
7
10
T
11
T
6
11
T
6
11
11
12
12
Cram Session: Two-Hand Tapping
By Jamie Humphries
[Link]
Our final lick (Ex. 14) comes from one of my own tunes called The Nashville Song. This phrase demonstrates how string
skipping and tapping can be used on extended arpeggios. Were moving between an F#m7 arpeggio in the first measure to
an Amaj7 arpeggio in the second measure, and this combination creates a nice Fm9 sound.
Ex. 14
Fast q = 160
+
+
+
+
+ +
+
+
#### 4
& 4
F#m7
mf
T
9 11 14
9 12 16
T
T
9 12 14 12 9
14 11 9 13 14
T
18
T
T
12 16 17 16 12
18 14 13
19 16 12
