TAPPING TECHNIQUE, CONT’D BY BILL LAFLEUR
Bi-Dextral Hammer-Ons in the Style of Eddie Van Halen
From Ultimate Guitar
Rechnique (00695863)
Here an open string is added to the exercises. There is nothing new here in terms of technique. This allows for wider
interval leaps and bigger arpeggios.
Fig. 4
Q = 120
0
1
33
3
3
1
0
3
3
3
3
T
80
T
580
T
580
T
5805
T
85
T
085
T
0
T
850850
;
3
1
0
0 1 3
T
853
T
0
T
8530
T
85308530
TT
8035
T
8035
T
80358035
3 1 0
6666
TT
853035
T
853035
T
853035853035
3 1 0
5
5
5
5
TT
85305
T
85305
T
8530585305
Vibrato may also be added to the tap. The easiest method is to execute a normal left-hand vibrato on the string while holding the tapped note. You
may also do similar vibrato techniques with the tapping finger itself, but it is not necessary since the fret-hand vibrato is just as effective. Also, the same
technique applies to bend-tap with vibrato.
Fig. 5
Q = 116
;;;;;;;;;
1 3
;;;;;;;
;;;;;;;;;;;
T
;;;;;;;;;;;
T
;;;;;;;;;
;;;;;;;;;;;;;
hold bend
T ;;;;;;;;;;;; 1
5 7 12
75714
14 7 5 7 17
57
12
12 7
( 7) 5
;;;;;;;;;
;
The next step in tapping is to use multiple fingers of the right hand. The pick will most likely not be held anymore at this point. Muting becomes very
important to keep the licks clean, without extra string noise. Some players even go so far as to use a string damper—a device that stops all open strings
from ringing. The first step is to add one more note on one string to the previously covered techniques. Although chromatics are an obvious benefit with
up to eight notes on a single string (not including slides), the bigger benefit is a wider note range. In the following examples the suggested right-hand
fingers are indicated with circled numbers. Since the pick is not held, it is common to rest the thumb of the pick-hand on the top of the neck for balance
and placement reference. Try these extended arpeggios.
Fig. 6
Q = 100
14
1
14
1
14
1
14
1
047
TT
12
T
161274047
TT
12
T
16 12 7 4
037
TT
12
T
151273037
TT
12
T
15 12 7 3
;
