TAPPING TECHNIQUE BY BILL LAFLEUR
Bi-Dextral Hammer-Ons in the Style of Eddie Van Halen
From Ultimate Guitar
Technique (00695863)
Tapping is a term that describes legato techniques that employ both ands on the fretboard. Often referred to as two-hand tapping, this
technique was revolutionized and popularized by Eddie Van Halen in the
late 1970s (“Eruption,” 1978) and taken to extremes by guitarists such as
Steve Vai, Joe Satriani, Jennifer Batten, and jazz great Stanley Jordan.
The concept is simple. Since the string does not have to be ringing when
executing a hammer-on, the right hand can hammer on to the string to
sound a note. Once the note is ringing it can be pulled off to sound a note
below it on the same string. This note may either be a fretted note using the
fretting hand or an open string. The hammer-on should slam the finger tip
down on the string with enough force to sound the note loud enough and
then remain holding the string down for the desired length of time. This
motion should come from the muscles in the fingers themselves—not the
wrist. The direction of the pull-off is a matter of preference. It is common
to pull off upwards with the picking hand then pull off downward with the fretting hand creating a good balance and avoiding too much bending of the string
in one direction. The finger used for single-note tapping is also a matter
of preference. If the first finger is used, the pick will have to be set aside or
palmed using the other fingers like a magician with a hidden coin. If the sec-
ond finger is used then the pick may remain in its normal position. Timing is
always a consideration, and good timing on the tapping phrases will produce
the best results. Also, dynamics are important. Try to keep volume levels the
same for hammer-ons, pull-offs, and taps.
Fig. 1
Q = 120
1 ( 4) 3
33
( 4) 3 1
3
3
3
3
3
3
T
10 5
T
8105
T
8
T
105 8105 8
TT
10 8 5
T
10 8 5
T
108 5108 5
;
The next set of exercises change strings while tapping. This is done the same way as on just one string. Remember, the string doesn’t have to be ringing to
sound the tap. Also, the fret hand may be moved freely behind the tap.
Fig. 2
Q = 120
1 ( 4) 3
3
3
3
T
10 5 8
5
8
3
( 4) 3 1
3
3
3
3
T
10
T
8
10 5
T
10 5 8
T
10 8 5
T
10 8
T
5
10 8 5
T
10 8 5
;
It is common for a finger of the fret hand to do the first hammer-on onto the string before the tap as in the following examples.
3
;
;
Fig. 3
Q = 120
1
3
3
5
5
3
;
T
T
8105
10 5
3
;
;
T
T
8105
;
8
10 5
8
T
10 8 7
5
;
T
8108 7
5
;
T5
8108 7
5
;
8
5
;
T5
8108 7
;
Click here to head to
premierguitar.com/jan2011
to hear an audio clip of the arrangement.
