Tapping

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This article is about the music technique. For other uses, see Tapping (disambiguation).

Tapping (also known as fingertapping or as touchstyle) is a fast playing technique generally associated with the electric guitar, although the technique may be performed on almost any string instrument.

It may be considered an extended technique, in that it is executed by using the fingers of one hand to 'tap' the strings against the fingerboard, thus sounding legato notes; often in tightly synchronised conjunction with the other hand (if in the case of a right-handed player, their left). Hence, tapping usually incorporates pull-offs and/or hammer-ons as well, whereby the fingers of the left hand trill a sequence of notes in said synchronisation with the (in this case, right) tapping hand.

The Chapman Stick is an instrument built primarily for tapping, and is based on a two-handed tapping technique invented in 1969 by Emmett Chapman where each hand approaches the fretboard with the fingers aligned parallel to the frets. The Mobius Megatar, Box Guitar, and Solene instruments are other instruments designed for a similar two-handed tapping technique, and the Bunker Touch-Guitar is designed for the two-necked tapping technique developed by Dave Bunker in 1958. The NS/Stick and Warr guitar are also built for tapping, though not exclusively. These instruments use lower string tension and low action to increase the string's sensitivity to lighter tapping.

Occasionally some guitarists may choose to tap using the sharp edge of their pick instead of fingers to produce a faster, more rigid flurry of notes in a style closer to that of trilling (see pick tapping).

There are two main methods of tapping: one-handed or 'ordinary' tapping, and two-handed tapping.


Contents

[edit] One-handed

One-handed tapping (though perhaps misleading in name, in that both hands are actually used), performed in conjunction with normal fingering by the fretting hand, facilitates the construction of note intervals that would otherwise be impossible using one hand alone. It is often used as a special effect during a shredding solo. With the electric guitar, in this situation the output tone itself is usually overdriven — although it is possible to tap acoustically — with drive serving as a boost to further amplify the non-picked (and thus naturally weaker) legato notes being played. Because of the amount of distortion generally present, the player should also focus on reducing unnecessary noise during tapping; for instance, by using the palm of the tapping hand to mute any open strings that might invariably ring out.

The actual passages that can be played using this one-handed technique are virtually limitless, if not taking into account such aspects as harmony and melodicism; which may or may not be necessarily important, depending on the style of music into which it is incorporated. The note intervals between both hands can be shifted up or down the neck, or onto different strings, to form familiar scalar patterns, or even 'outside' tones by randomly streaming through any chosen notes for mere show (often by using chromatics or otherwise dissonant intervals).

As far as the actual technique goes, there are many ways of performing a one-handed tapping passage. The most common one involves rapidly repeated triplets played at a rate of sixteenth notes, using the following sequence:


Tap — pull-off — pull-off


In this case, the right hand index or middle finger sounds the first note on a string by sharply hammering onto it once, then pulling off (often with a slight, sideways 'flicking' movement so as to strengthen the note) to a lower note held by one of the left hand fingers, that of which is then finally pulled off to the last note held by another left hand finger. From there, the cycle is repeated. If one breaks that down even further, the very first part can be seen as the actual 'tapping' motion itself, whereas the second part involving the left hand acts as a way of embellishing the passage with additional notes; which, overall, could be considered an extended trill. The overall aim is to maintain fluidity and synchronisation between all the notes, especially when played at speed, which can take some practice to master.

In tablature form, the above sequence could thus be displayed as:

    A  E  C#
e|-t17p12p9-|
B|----------|
G|----------|
D|----------|
A|----------|
E|----------|


Alternatively, different sequences can be used. One common variation is to reverse the action of the left hand and instead add the second left-hand note as a hammer-on at the end:


Tap — pull-off — hammer-on


    G C D#
e|--------|
B|-t8p1h4-|
G|--------|
D|--------|
A|--------|
E|--------|


The above variation can be heard to good effect on the famous Van Halen song, "Eruption", in which virtuoso Eddie Van Halen uses the above tap–pull–hammer method to create a lengthy cascade of tapped notes. In addition to the aforementioned triplets, tapping can be played using sixteenth notes (four notes to one beat as opposed to three), or even — though rarely heard — quintuplets (five notes to one beat). This, especially the latter, can result in even more complex-sounding passages, with some guitarists choosing to use it as a form of neo-classical phrasing to further deepen the musical possibilities of the technique. Again, there are a number of ways of doing so, but some examples of sixteenth-note tapping could be broken down as:


Tap — pull-off — hammer-on — hammer-on

Tap — pull-off — pull-off — hammer-on


    G  B C# D
e|------------|
B|-t15p7h9h10-|
G|------------|
D|------------|
A|------------|
E|------------|

    C# G# D# G#
e|-------------|
B|-------------|
G|-t18p13p8h13-|
D|-------------|
A|-------------|
E|-------------|


And finally, quintuplets could be displayed as:


Tap — pull-off — hammer-on — hammer-on — hammer-on

Tap — pull-off — pull-off — pull-off — pull-off


    A# D# F  F# G#
e|-t18p11h13h14h16-|
B|-----------------|
G|-----------------|
D|-----------------|
A|-----------------|
E|-----------------|

    C  A  G# G  F
e|-t20p17p16p15p13-|
B|-----------------|
G|-----------------|
D|-----------------|
A|-----------------|
E|-----------------|


If looked at in scalar terms, the above sequences would follow the intervallic forms of a minor scale and a blues scale respectively. The same concept can therefore be applied to virtually any scale imaginable, making tapping a very diverse technique with constant room for experimentation.


[edit] Two-handed

Two-handed tapping can be utilized to play polyphonic and homophonic music on a guitar by using eight (and even nine) fingers. For example, the right hand plays the treble melody while the left hand plays an accompaniment. Therefore, it is possible to produce music written for a keyboard instrument, such as J.S. Bach's Two-part Inventions.

The method increases the flexibility of the instrument, in that it makes it possible to play more types of music on a guitar. The main disadvantage is the lack of change of timbre. As it produces a "clean tone" effect, and since the first note usually sounds the loudest (unwanted in some music like jazz), dynamics are a main concern with this technique, though Stanley Jordan and many Stick players are successful tappers in this genre. It is common to use a compressor effect to make notes more similar in volume.

Depending on the orientation of the player's right hand, this method can produce varying degrees of success. Early experimenters with this idea like Harry DeArmond, his student Jimmie Webster, and luthier Dave Bunker held their right hand in a conventional orientation, with the fingers lined up parallel with the strings. This limits the kind of musical lines the right hand can play. Emmett Chapman was the first to tap on guitar with his right hand fingers lined up parallel to the frets, as on the left hand (August, 1969). This led to complete counterpoint capability and a new instrument, the Chapman Stick.

Stanley Jordan popularized this method on a six-string guitar, using an all 4ths tuning as previously on The Stick. He calls his approach "touch guitar," but it is essentially Chapman's Stick technique, though Jordan developed it independently, and at a later date.

[edit] Three Guitar Tapping

Samtriggy extends guitar tapping technique by adding one more guitar at his feet. The third guitar use to strengthern the chords tapped by his left right hand.


[edit] History

The practice of tapping has existed in some form or another for centuries. Paganini utilized similar techniques on violin. Another similar technique, called selpe, is used in Turkish folk music on the instrument called the bağlama.

The clavichord was an early acoustic keyboard instrument that used a mechanical hammer to "fret" a string for each key. It was followed by an amplified version, the Hohner Clavinet in 1968.

Jimmie Webster made recordings in the 1950's using the method of two-handed tapping he described in 'Touch Method for Electric and Amplified Spanish Guitar', published in 1952.

Randy Resnick of the Pure Food and Drug Act featuring Don "Sugarcane" Harris used both one and two handed tapping (hammering) extensively in his performances and recordings between 1969 and 1974. This was mentioned in an article in Guitar Player Magazine written by Lee Ritenour in 1970. He also recorded the tapping style in 1974 on the John Mayall & the Bluesbreakers album "Latest Edition". He was attempting to duplicate the legato of John Coltrane's "sheets of sound".

Harvey Mandel, well-known for his psychedelic guitar playing, also employed 2-handed fretboard tapping. Mandel was one of the first rock guitarists to utilize this technique, years before Eddie Van Halen and Stanley Jordan came along. It was also used by Ace Frehley from around 1977, for his live solo at the end of Shock Me.

Arguably, it was Eddie Van Halen who popularized the technique for the modern audience. Certainly his is the name most closely associated with the use of tapping in rock music. He adapted the technique after watching Jimmy Page's Heartbreaker guitar solo at a Led Zeppelin concert in Los Angeles in 1972. Perhaps the most famous employment of tapping is the short piece "Eruption" on the first Van Halen album, which features very fast tapping triads and formed the blueprint for heavy metal lead playing throughout the 1980s. Eddie also patented a pop-out stand that enables a musician to employ the technique while standing and moving around.

During the 1980s one-handed tapping (usually pull-off style) developed much further with many players using multiple strings and fingers to stretch over multiple octaves.

Even in the '80s hair metal in which tapping had its heyday, tapping on the bass guitar was rarely heard, the most famous practitioners being Billy Sheehan and Stu Hamm.

Michael Hedges and Michael Manring brought the technique to New Age music in their early recordings with Windham Hill. Along with guitarists such as Pierre Bensusan and Preston Reed, these acoustic tappers inspired a whole new generation of musicians such as Kaki King, Justin King, and John Pointer.


[edit] More examples

Perhaps one of the most famous and first recorded appearances of the two hand tapping technique was by guitarist Steve Hackett from the English prog band Genesis featured on the song "The Return Of The Giant Hogweed" from the album Nursery Cryme, released in 1971.

Brian May of Queen employed tapping as early as 1973 in many songs including "Cyborg" on his solo album Another World. This style of playing can be seen in the 1975 "Bohemian Rhapsody" promotional video.

Ace Frehley of KISS used tapping on solos before Van Halen's debut, as did Angus Young of AC/DC. Young usually does one-handed tapping (such as at the end of the solo to "Dirty Deeds Done Dirt Cheap" and in "Baby, Please Don't Go". Performances of both songs are viewable on the Family Jewels DVD.). More notably, Young taps the famous intro to "Thunderstruck" in most performances, including the music video, even though he did not do this during the original studio recording or during live performances of the song.

Avant-garde guitarist Buckethead commonly employs an advanced form of tapping, utilizing anywhere from one to all five of the fingers on his right hand, and and on the left hand as well, being 8-10 finger tapping. This is a common technique used in mid-solo.

A more recent example of tapping is the song "Lip Gloss and Black" by the metalcore band Atreyu. Their guitarist Dan Jacobs uses a simple tapping technique as an intro to the song, as well as it being part of a verse.

A related technique to regular one-handed tapping is tapped harmonics, where the fret hand acts as a barre, while the harmonic is tapped. Eddie Van Halen showcases this in the acoustic guitar solo "Spanish Fly", as featured on the Van Halen II album.

Another example recorded before Van Halen's debut is on Orchestra Luna's only album Orchestra Luna, on the outro to "Doris Dreams". Randy Roos is the guitar player.

Joe Satriani, in 1987 published a hugely influential rock guitar album called Surfing with the Alien which included a neoclassical piece called Midnight with very fast cross-string arpeggios. Another good example is Day At The Beach from the Album Flying in a Blue Dream.

Tony Levin began playing Chapman Stick with Peter Gabriel's band in the 1970s. He later went on to feature The Stick heavily in the King Crimson band of the 1980s and 1990s. The most famous track is Elephant Talk (single), with Levin playing the entire bass/chord groove at the outset.

Muhammed Suiçmez of Necrophagist uses tapping in virtually every song in order to play the incredibly fast runs or as a way to extend his sweep arpeggios.

Dream Theater bassist John Myung frequently uses this technique on bass guitar, he also plays Chapman Stick.

Enver İzmaylov employs two-handed tapping to perform mainstream jazz, Turkish, Uzbek and Balkan folk music, and classical music.

Ozzy Osbourne's guitarist Randy Rhoads applied tapping to some of his guitar solos. Some of these include Flying High Again off of the second album he wrote with Ozzy Osbourne, Diary of a Madman. Another occasion when he used tapping in a solo with Ozzy was on the famous Crazy Train solo off of Osbourne's first solo album, Blizzard of Ozz.

Ilusive's guitarist Ell Stone employed tapping in the solo of Path Of Destruction.

Billy Sheehan uses extremely fast multi-finger tapping in many of his solos.

Paul Gilbert uses tapping in several of his songs, including the completely tapped intro to the Mr. Big song "Green Tinted Sixties Mind".

Stuart Hamm, another ground breaking bassist, recorded a complete arrangement of the piano piece the Moonlight Sonata by Beethoven on his album Radio Free Albemuth which he often plays at least some of in his solo spots when playing with Joe Satriani.

Kirk Hammett of Metallica uses tapping on the guitar solos for One, To Live is to Die, Blackened and Ride The Lightning.

Modern metal bands like The Dillinger Escape Plan often use an extreme form of tapping. This form can be found in many of their songs, good example of which can be heard at the beginning of their debut album Calculating Infinity where the guitar players use fingertap with 3 fingers on each hand.

Dave Knudson of indie rock band Minus the Bear and formerly, of the metalcore band Botch is one of the most prominent and innovative guitar players to use the tapping method in modern indie rock. He frequently employs the two hand technique coupled with different time signatures and various effects pedals including delay and (more frequently on their most recent album Menos el Oso) sampling or overdubbing of riffs with the help of effects pedals.

Michael Romeo of the band Symphony X uses tapping and legato in almost all his solos. The bassist Michael Lepond also uses bass tapping sometimes.

Jeff Watson of Night Ranger developed an innovative, multi-fingered, two-handed tapping guitar playing style, also called 8-finger tapping, back in the '80s. Current guitarists using this technique include T.J. Helmerich, Tony MacAlpine, and Jake E. Lee.

Herman Li and Sam Totman of Dragonforce use tapping in almost all of their solos, sometimes using a more visually appealing technique where they use their left hand upside down, coming from the top of the neck to fret the notes. Both of them use the side of their pick to tap, as opposed to their fingers.

Michael Hedges employed tapping and touch techniques in many of his songs, most performed on the acoustic guitar. A prime example is the title track from his breakout album Aerial Boundaries, or his amazing Harp Guitar work on the song Because it's There.

Kaki King taps on her acoustic guitar, but comes over the top of the neck, like Preston Reed.

Justin King taps and slaps on his acoustic guitar, blending the tapping with funk bass and quasi-flamenco techniques as well.

John Pointer taps and slaps on his acoustic guitar, similarly to Justin King. He uses several alternate tunigs, and a retrograde thumb position (fingertip pointing toward the floor) for slapping chords on the bottom strings. He often taps harmonics and false harmonics and lets them ring while tapping/hammering on bass and counterpoint with his left and right hands. He also employs hand percussion techniques on the body of his acoustic, while incorporating stomps, like Chris Whitley, and Beatboxing, like Kenny Muhammad. A prime example of these techniques all used together (with vocals) is one of his signature tunes, The Flame.

John Fogerty has also picked up a one-handed tapping style, similar to Eddie Van Halen. During his 2006 tour, he played tap-style solos during song breaks.

Erik Mongrain uses a two-handed tapping technique similar to Michael Hedges


[edit] Guitarists summary list

Chris Arp uses tapping 90% of his songs.

[edit] External links

[edit] See also

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