# Understanding tapping from a theory perspective



## QuantumCybin (Jan 28, 2014)

Hey again guys. I've been wanting to practice tapping more, but in a musical context. I've been extremely limited with my use of it because I am struggling a bit with identifying intervals on my fretboard. I know if I just understood more about the theory behind it, my hands could do the work. 

I'm in a theory II class at my local college so I understand the role of intervals and what they tend to gravitate towards, but I just feel a little lost when it comes to actually translating it to my fretboard. 

Does anyone have any suggestions on what I should do to start improving my tapping? I'm sure getting better at identifying intervals *visually* will help, but what else can I do? 

Thanks people!


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## wespaul (Jan 28, 2014)

The first thing I would recommend doing is learning your major scale in every position on the fretboard (this is so so so so so so important). Learn it ascending and descending, with the root note starting on any string. Learn it going up on one string (this is where the beginning of your tapping application could begin). Pick a root anywhere, and be able to play it up and down the fretboard starting on your indext finger or pinky (which will make you crawl in different directions). When you're playing the major scale, call out the names of the notes, and try your best to sing the pitches (even if you're a bad singer, it still will help you, regardless).

Then, when you have that down, take a one octave major scale and start calling out intervals as you play them. Then compare each interval from the root. Note that when you pick an interval below the note, it's inverted. You're in theory II, so you should have a grasp of this concept.

I know you asked about tapping, but this is really a fretboard navigation question. If you can visualize a scale on the whole fretboard, you can fret and tap away. Then it's all about technique, being able to shift through patterns, and employing things such as two-handed tapping, using various fingers, and over the fretboard tapping like Steve Vai's "Building the Church."

And to sound good, I'd recommend one of these:

GRUV GEAR · FretWraps String Muters / String Dampeners · MAKE LIFE GRUV

Once you have all that, check out the Andy James Tapping DVDs from Lick Library.


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## Dirtdog (Jan 29, 2014)

There are different approaches to tapping 
There is a scalar approach meaning you play scales using both hands by using hammer ons taps and pull offs. Etc 
Their is a arpeggio approach meaning you tap pout arpeggio shapes like major minor diminished augmented etc
Their is also a chord approach meAning you tap chord shapes 
Such as playing 1 and 3 on 1 hand and 3 and 7 on the other much like a piano player might do with separating the hands
But learning intervals is essential to understanding them
Good luck on your journey


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## TeeWX (Jan 29, 2014)

wespaul said:


> And to sound good, I'd recommend one of these:
> 
> GRUV GEAR · FretWraps String Muters / String Dampeners · MAKE LIFE GRUV]



Alternatively you could actually learn how to mute the correct way. I have absolutely no problem tapping arpeggios over multiple strings and having it sound clean. Products like that just seem silly and will only hinder your technique. What particular pattern are you trying to play that you absolutely need one of these? I'm not aware of any but I'm open to potential justifications.


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## wespaul (Jan 29, 2014)

TeeWX said:


> Alternatively you could actually learn how to mute the correct way. I have absolutely no problem tapping arpeggios over multiple strings and having it sound clean. Products like that just seem silly and will only hinder your technique.



Such a silly guitar-snob thing to say. Somebody get on the phone to Andy James and Guthrie Govan tell them their technique is suffering because of their hair ties


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## noUser01 (Jan 29, 2014)

wespaul said:


> And to sound good, I'd recommend one of these:
> 
> GRUV GEAR · FretWraps String Muters / String Dampeners · MAKE LIFE GRUV





wespaul said:


> Such a silly guitar-snob thing to say. Somebody get on the phone to Andy James and Guthrie Govan tell them their technique is suffering because of their hair ties



He's right though. 

Andy James and Guthrie Govan don't use the 'hair band' because they can't mute properly, they use it _in addition to_ _excellent muting technique_. Even with great technique you'll still make mistakes, but if you practice with one of those hairbands then it will just become a crutch. If you can tap without one you'll be much better off as you can sneak those tapping licks into the middle of riffs without them sounding sloppy or having to quickly put your hair band on, then take it back off. The only reason those guys have those hair bands is because they want to make their live performances just that much better, so that even though they can tap to their hearts' desires without any aid, popping that thing on will make sure any mistaken open notes are muted, and that _tiny amount of excess noise_ is dealt with. If you're using the FretWraps while practicing, you're doing it wrong. If you're using them live or in the studio for a little extra forgiveness, then go for it.

Telling him he needs one to 'sound good' is just all kinds of wrong.
*
QuantumCybin:* You should learn how to build chords and the intervals between different notes in a chord. For example, let's say we're building a major tapping arpeggio. A major chord has a Root, a Major Third, and a Perfect Fifth. So pick a root, then go up a Major Third (which is 4 frets), then up to the 5th (which is up a Minor Third, which is 3 frets). You now have the notes of a major chord, and you can tap them however you please. If you know how to build chords and you know your intervals you can just make your own tapping licks with ease. If you need any more help, specific examples or whatever just let me know.


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## TeeWX (Jan 29, 2014)

ConnorGilks said:


> If you're using the FretWraps while practicing, you're doing it wrong. If you're using them live or in the studio for a little extra forgiveness, then go for it.
> 
> Telling him he needs one to 'sound good' is just all kinds of wrong.



This.

I'm not saying you're wrong for using one, but I don't think practicing with one is a good idea. I'm _ALL FOR_ using one live or in the studio. But that's the ONLY place I'd ever advise using one. I should have stated that earlier. My bad.


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## wespaul (Jan 29, 2014)

ConnorGilks said:


> Andy James and Guthrie Govan don't use the 'hair band' because they can't mute properly, they use it _in addition to_ _excellent muting technique_. Even with great technique you'll still make mistakes, but if you practice with one of those hairbands then it will just become a crutch. If you can tap without one you'll be much better off as you can sneak those tapping licks into the middle of riffs without them sounding sloppy or having to quickly put your hair band on, then take it back off. The only reason those guys have those hair bands is because they want to make their live performances just that much better, so that even though they can tap to their hearts' desires without any aid, popping that thing on will make sure any mistaken open notes are muted, and that _tiny amount of excess noise_ is dealt with. If you're using the FretWraps while practicing, you're doing it wrong. If you're using them live or in the studio for a little extra forgiveness, then go for it.



This guy created a thread to help him with tapping. Having a fretwrap or a hair tie is a great thing to have in your toolkit when approaching this style of playing. I didn't just write a one line post saying "GET THIS TO PLAY AMAZING." It was a recommendation in addition to everything else. Having a fretwrap/hair tie is absolutely not a cure-all, and it doesn't magically make you sound like a pro, either. You still have to put in the time.

And players like Guthrie Govan and Andy James are using these in much more than just their live playing and recordings. They're using them in instructional videos, some of which even go into explaining tapping in detail. It's nonsense to say that they have no place in practicing, or you're practicing wrong if you're using them. If you're practicing just being able to tap in the right spot (which it sounds like this guy is), then this can make everything sound less like a bleeding mess, which can be psychologically rewarding and encourage further practicing. It's not a substitute for muting your strings, but it's not a crutch, either.

It reminds me a lot of the junior college I went to where the other musicians scoffed at using a tuner.


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## noUser01 (Jan 30, 2014)

wespaul said:


> This guy created a thread to help him with tapping. Having a fretwrap or a hair tie is a great thing to have in your toolkit when approaching this style of playing. I didn't just write a one line post saying "GET THIS TO PLAY AMAZING." It was a recommendation in addition to everything else. Having a fretwrap/hair tie is absolutely not a cure-all, and it doesn't magically make you sound like a pro, either. You still have to put in the time.
> 
> And players like Guthrie Govan and Andy James are using these in much more than just their live playing and recordings. They're using them in instructional videos, some of which even go into explaining tapping in detail. It's nonsense to say that they have no place in practicing, or you're practicing wrong if you're using them. If you're practicing just being able to tap in the right spot (which it sounds like this guy is), then this can make everything sound less like a bleeding mess, which can be psychologically rewarding and encourage further practicing. It's not a substitute for muting your strings, but it's not a crutch, either.
> 
> It reminds me a lot of the junior college I went to where the other musicians scoffed at using a tuner.



He's asking more about the theory of it, but yes, it is a good thing to have - as I acknowledged already - but only in addition to good technique. You didn't state that in your post, so I clarified that for the OP.

I wasn't omitting workshops or instructional videos when I said "live". All three of those situations are performance situations in some way, in which case it makes sense to use them. If you wanna plug how using a FretWrap is going to give you a morale boost and make you want to practice more then go for it, but I think everyone can agree that if you practice _without _one, you will be better off than the guy who practices with one. If you're learning where to put your fingers then that's even more reason not to use a FretWrap. If it's your first time doing two-handed tapping that's exactly why you shouldn't practice with one. Put it this way, would you rather learn how to tap with a mute, and then take it off and have to learn how to mute things yourself later on? Or would you prefer to learn without a mute, and learn how to properly mute the strings from the start and not have to rework your technique later on? Using one is a great idea, but practicing with one isn't going to be as beneficial in the long run as practicing without one. 

Don't be silly. A FretWrap isn't nearly as essential as a tuner, come on now.



wespaul said:


> And to sound good, I'd recommend one of these:
> 
> GRUV GEAR · FretWraps String Muters / String Dampeners · MAKE LIFE GRUV



That's what you said. If you didn't mean that the way it was taken by both TeeWX and I, that's fine. But I responded to you based on what you said, not on what you didn't say.

Either way, the OP has heard both our opinions on hair bands/FretWraps so there's no need to continue debating. Our points have been made, use whatever works for you QuantumCybin! If it works, it works.


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## 80H (Jan 30, 2014)

QuantumCybin said:


> Hey again guys. I've been wanting to practice tapping more, but in a musical context. I've been extremely limited with my use of it because I am struggling a bit with identifying intervals on my fretboard. I know if I just understood more about the theory behind it, my hands could do the work.
> 
> I'm in a theory II class at my local college so I understand the role of intervals and what they tend to gravitate towards, but I just feel a little lost when it comes to actually translating it to my fretboard.
> 
> ...



Here's the thing. Tapping is only limited by your speed. The theory is pretty huge. You can tap anything if you want, really, just so long as you have the conditioning for it. 

That's probably the best theoretical place to start that I've found. Just let it sink in that you can tap anything. So tap everything. Just start tapping shit. That fret? That string? Sure, why not. Gonna take weeks to really get comfortable anyways, and even then, there's always gonna be something uncomfortable if you want to push. May as well put the hours in now and sweat through what you've gotta sweat through. Do wizardy stuff with your fretting hand. Play with chord voicings that share fingers and see what you can add to chords, play with counterpoint, pedal point w/your open strings and play octaves...I could keep going for a while here man. What kind of music do you like/like to make? How would tapping add to that?


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## wespaul (Jan 30, 2014)

ConnorGilks said:


> He's asking more about the theory of it, but yes, it is a good thing to have - as I acknowledged already - but only in addition to good technique. You didn't state that in your post, so I clarified that for the OP.



Did you really think I was implying that he don't develop technique because he can use a fretwrap? 

Really?



ConnorGilks said:


> I wasn't omitting workshops or instructional videos when I said "live". All three of those situations are performance situations in some way, in which case it makes sense to use them. If you wanna plug how using a FretWrap is going to give you a morale boost and make you want to practice more then go for it, but I think everyone can agree that if you practice _without _one, you will be better off than the guy who practices with one. If you're learning where to put your fingers then that's even more reason not to use a FretWrap. If it's your first time doing two-handed tapping that's exactly why you shouldn't practice with one. Put it this way, would you rather learn how to tap with a mute, and then take it off and have to learn how to mute things yourself later on? Or would you prefer to learn without a mute, and learn how to properly mute the strings from the start and not have to rework your technique later on? Using one is a great idea, but practicing with one isn't going to be as beneficial in the long run as practicing without one.



So you're saying it makes sense to use a fretwrap/hair tie *in instructional videos made to explain tapping* simply because it's a performance situation? Do you realize how asinine that sounds? These are not only professional, highly acclaimed musicians, but they're also renowned guitar tutors. And they teach teach this technique with a hair tie. Just how serious do you think this problem is? Is this some sort of guitar epidemic that I'm not aware of?

The fact is the guy is starting out. Having a device to help reduce unwanted noise isn't going to hurt him. Not even in developing technique. If he is sitting down and seriously learning the technique, muting will be a huge area to cover anyway --it's part of learning tapping. I'm not even implying that he forgo developing that part of the technique.



ConnorGilks said:


> Don't be silly. A FretWrap isn't nearly as essential as a tuner, come on now.



Do you know how many classically trained musicians turn their nose up at tuners? I've personally dealt with them. I think it's ridiculous, too, just like this weird crusade against hair ties/fretwraps.



ConnorGilks said:


> That's what you said. If you didn't mean that the way it was taken by both TeeWX and I, that's fine. But I responded to you based on what you said, not on what you didn't say.



We both agree that what I said was right. He will sound good (or, at least, better than without one). You're just trying to argue that he won't develop any muting techniques because of it (or will develop bad techniques), and that's where we differ. I think it's perfectly possible to develop a great muting technique with having a fretwrap in your arsenal. It's not the end of the world.



ConnorGilks said:


> Either way, the OP has heard both our opinions on hair bands/FretWraps so there's no need to continue debating. Our points have been made, use whatever works for you QuantumCybin! If it works, it works.



lol, you say that after writing a mountain of text

Anyway, I will personally buy you a Gruv Gear Fretwrap in your choice of color, QuantumCybin, and have it mailed to you (for putting up with this weird discussion) - GRUV GEAR · FretWraps Stocking Stuffers Sale · MAKE LIFE GRUV

PM me if you're interested


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## TeeWX (Jan 30, 2014)

wespaul said:


> We both agree that what I said was right. He will sound good (or, at least, better than without one). You're just trying to argue that he won't develop any muting techniques because of it (or will develop bad techniques), and that's where we differ. I think it's perfectly possible to develop a great muting technique with having a fretwrap in your arsenal. It's not the end of the world.



I just don't advise anyone get "use" to using one of these things. If I were to use one, I'd put it on for a gig or studio session and pretend that it isn't there. Because if you sound bad without one, what are you gonna do when you can't find it at your gig because the drummer for the previous act stole it because he thought he'd look more metal with his hair in a pony tail?

I kind of put this into the same category as delay/reverb pedals, high gain, etc. Do pros use it? Yes. Could you use it? Yes. Should you practice techniques with them floored? *NO!*



80H said:


> Here's the thing. Tapping is only limited by your speed. The theory is pretty huge. You can tap anything if you want, really, just so long as you have the conditioning for it.
> 
> That's probably the best theoretical place to start that I've found. Just let it sink in that you can tap anything. So tap everything. Just start tapping shit. That fret? That string? Sure, why not. Gonna take weeks to really get comfortable anyways, and even then, there's always gonna be something uncomfortable if you want to push. May as well put the hours in now and sweat through what you've gotta sweat through. Do wizardy stuff with your fretting hand. Play with chord voicings that share fingers and see what you can add to chords, play with counterpoint, pedal point w/your open strings and play octaves...I could keep going for a while here man. What kind of music do you like/like to make? How would tapping add to that?



This is awesome. It's a good thing to look into. You really CAN tap anything. When I'm tapping I still hold my pick but I don't actually use it. If I need to hit an open string I flick it with one of my three fingers that are free. I do this because I wanted to achieve a complete legato feel when tapping.

I started out tapping minor, major, diminished and augmented shapes on a single string and expanded that to multiple strings. From here you can add in your 7ths, 9ths, 11ths, etc. (Big thanks to Maniacal here for the ShredTraining meterials!) It took me awhile to get use to tapping 3 note per string scales with my right three fingers only while holding my pick but when you get it down it's REALLY sweet. Tapping will really allow you to see the fretboard and the scales you're playing in as a whole. You'll now have a horizontal approach and a vertical approach (Your typical 3 note per string scales) and it really just brings it all together.

All in all don't be afraid to try new things. As far as theory goes an old teacher always told me "Play something that sounds cool first and figure out what it is later". Great advice IMO!


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## QuantumCybin (Jan 30, 2014)

Hahaha wow, I never expected such an interesting debate to unfold on this thread. But okay, let me answer some of the things that have been addressed!

I've been playing guitar for about six years now, and I feel pretty comfortable with my hands in terms of playing chords and some scales, but tapping has remained generally untouched, with the exception of me messing around with simple octave tapping.

The whole FretWrap discussion: I have seen debates before regarding them, and it's one of those things where I feel like I can't have an opinion because not only have I not tried them, but I haven't had a need for them since I rarely tap! However, I'm in the camp of don't knock it til you try it, so I am open to the idea, especially in a recording environment where you're aiming for perfection anyway.

In terms of music I like to write, I guess you could say I do like my share of heavy guitar with syncopated kick drum and all that, but I also love me some smooth and ambient sounding lead lines. I know tapping is a great way to get "buttery" leads. My influences range from the usual around here like Govan and Periphery, but also bands like Rush, Saga, Pink Floyd...

The information you guys have given me (regardless of the debate that ensued....yet another reason why I love this forum. Honestly, where else will you find people so passionate about an instrument they will argue about an accessory for it? I love it!) is still very helpful. You know what's kind of annoying is I'm in Piano II at my local college also, and I'm almost irritated that piano is so much easier for me to grasp in a musical context than guitar!

I feel like I let my ear do more of the guiding when I play guitar, but when I'm playing piano I find it easier to make conscious theory decisions. But I think this could all stem from a poor approach to the fretboard.

It sounds like my biggest priority right now is to take what 80H said and work my muscles just by doing some tapping randomly, but also approach it from the fundamental theory standpoint and master that damned major scale in all the positions. Thanks a lot guys.


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## wespaul (Jan 30, 2014)

TeeWX said:


> I kind of put this into the same category as delay/reverb pedals, high gain, etc. Do pros use it? Yes. Could you use it? Yes. Should you practice techniques with them floored? *NO!*



This is just getting silly. If it's like anything, it's like a noisegate, which I most definitely use, even when I'm practicing, and my technique hasn't suffered from it. But it's whatever. The argument has already ran it's course and the guy can decide for himself what will work best.

Back on topic. 80H had some real helpful advice. Also, tapping is one of those most piano things you can do on your guitar, so it won't be long after studying it that you will begin to see parallels between the instruments, and that may break the mental barrier you have with this technique since you take to piano so well. Tapping arpeggios is a pretty linear thing to do, much like on a piano. Guthrie Govan talks about it a bit in this video:



He also has a very helpful book you may want to check out - Creative Guitar 2: Advanced Techniques: Guthrie Govan: 9781860744679: Amazon.com: Books

Some fun tapping songs include Joe Satriani's "Midnight", and it's a pretty good beginner/intermediate song to sharpen your teeth on:



There's also an MI book that has a bunch of tapping licks you may want to look at. It'll help with putting the theory with what you're playing --each exercise has an explanation. - Progressive Tapping Licks: Lessons and Tab for 75 Extreme Guitar Tapping Ideas (Musicians Institute: Private Lessons): Jean Marc Belkadi: 0073999957488: Amazon.com: Books

Chris Letchford (from Scale the Summit) has a tapping book that you may want to consider picking up down the road. It's pretty intermediate/expert stuff, so it may be intimidating if you dove into it right now. It's something to think about, though - Scale The Summit &mdash; "Guide To Tapping" Instructional Book by: Chris Letchford


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## stuglue (Jan 30, 2014)

I think the OP has some confusion over what tapping is, its just a technique, its only a way to fret notes. You won't learn what notes are musically correct from learning how to tap, you'll just get better at the technique.


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## noUser01 (Jan 30, 2014)

wespaul said:


> We both agree that what I said was right. He will sound good (or, at least, better than without one). You're just trying to argue that he won't develop any muting techniques because of it (or will develop bad techniques), and that's where we differ. I think it's perfectly possible to develop a great muting technique with having a fretwrap in your arsenal. It's not the end of the world.



You can continue your attacks on me if you wish, but this is the bottom line, that we both agree you should have good muting technique and not rely on a muting device. We have different opinions on when to use one and the consequences of using one, and that's fine. I read your post and answered accordingly. You didn't mean it the way myself and TeeWX took it, so no worries. I simply told you why I answered the way I did, based on how I took your post. It's really not that big of a deal, there's nothing wrong with having two different opinions. Clearly your way works for you and my way works for me. OP has the information from both sides, he can make his choice.


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## TeeWX (Jan 30, 2014)

wespaul said:


> This is just getting silly. If it's like anything, it's like a noisegate, which I most definitely use, even when I'm practicing, and my technique hasn't suffered from it.



Noise gates shouldn't be masking poor technique in the way that everything else listed can. I only use a noise gate to stop feedback and hum that naturally comes with high gain. If you screw up on your muting it's still incredibly relevant with a gate. You can stick an armband on your nut and play incorrectly without noticing it. It just seems unnecessary to handicap yourself in a practice environment. You want your mistakes amplified when you're trying to improve your technique, not hidden!

I know you list a lot of professionals who use them and that's fine but I don't think it's a good idea. I've seen Matt Tuck from BFMV tap live with an armband on his picking hand, which is the same concept as putting it on the neck, and he's sliding his arm back and forth to tap with the same finger. When I play the same part I don't move my hand, which eliminates the noise you get from sliding around. He's leagues better than I am, but I don't use that as a justification to start putting armbands on everything I own like I'm in the NBA.


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## wespaul (Jan 30, 2014)

ConnorGilks said:


> You can continue your attacks on me if you wish



I'm not attacking you bro. Hugs.



TeeWX said:


> Noise gates shouldn't be masking poor technique in the way that everything else listed can. I only use a noise gate to stop feedback and hum that naturally comes with high gain. If you screw up on your muting it's still incredibly relevant with a gate. You can stick an armband on your nut and play incorrectly without noticing it. It just seems unnecessary to handicap yourself in a practice environment. You want your mistakes amplified when you're trying to improve your technique, not hidden!



You are absolutely wrong. JUST like with a fretwrap, a noisegate cuts out unwanted noise. It's not going to mask ALL of your imperfections, but by it's own design, it cuts out unwanted noise, just like a fretwrap. Besides, I'm not even saying that was a good analogy. The other guy was talking about likening a fretwrap to having everything boosted and tons of effects floored when you're practicing, and I disagreed, and said "if it's like anything, it's like a noise gate." Why are you even arguing against that point?



TeeWX said:


> I know you list a lot of professionals who use them and that's fine but I don't think it's a good idea. I've seen Matt Tuck from BFMV tap live with an armband on his picking hand, which is the same concept as putting it on the neck, and he's sliding his arm back and forth to tap with the same finger. When I play the same part I don't move my hand, which eliminates the noise you get from sliding around. He's leagues better than I am, but I don't use that as a justification to start putting armbands on everything I own like I'm in the NBA.



Your own words were "it will only hinder your technique." I pointed out that many professionals and world renowned guitar tutors teach _this very technique_ with them on their necks. Obviously there is some reason for this. It produces desired results with them. It's fine that you don't think it's a good idea, but when you start saying things like "it will only hinder your technique" and then follow it up with "I'm all for using them live or in the studio," I have to wonder what your point is. Maybe you should wear an armband when replying.

I feel like I'm in a weird guitar twilight zone.


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## TeeWX (Jan 30, 2014)

wespaul said:


> I have to wonder what your point is. Maybe you should wear an armband when replying.



 awesome dude!



wespaul said:


> Your own words were "it will only hinder your technique." I pointed out that many professionals and world renowned guitar tutors teach _this very technique_ with them on their necks. Obviously there is some reason for this. It produces desired results with them. It's fine that you don't think it's a good idea, but when you start saying things like "it will only hinder your technique" and then follow it up with "I'm all for using them live or in the studio," I have to wonder what your point is.



I can see how that could be read as contradictory. When I say that it will hinder your technique... I mean that while practicing you don't need to hide that "excess noise" as your goal should be to minimize that as much as possible. A noise gate to me doesn't seem to be getting rid of the same kinds of noise. I used an armband on my guitar neck when I injured my picking hand forearm, so that I could still practice with my left hand. It was a little more extreme than my ISP Decimator.

Now, when I say that I'm all for using one live I mean that as a pure backup; so you can make some mistakes and they won't be as obvious. When you're practicing technique you need to hear those mistakes. What you're playing should sound the best that it absolutely can BEFORE any modifiers are utilized. I don't mind noise gates, as my 5150 literally just goes ape shit if I don't have one on there. You don't need to hear humming and feedback when you're not playing. IIRC the decimator knows when you're playing and when you're not? Like Santa Claus.


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## wespaul (Jan 30, 2014)

lol, this discussion is great

Andy James talking about the hairband (who surprisingly shares both points of views):



But anyway, more resource material:

This is geared for acoustic tapping/percussive techniques, but still has ideas that you can use on electric guitar. I usually try to get a technique down on acoustic, because, for the most part, it's easier to transition it to an electric (depending on the technique) - Acoustic Artistry: Tapping, Slapping, and Percussion Techniques for Classical & Fingerstyle Guitar (Musicians Institute Private Lessons): Evan Hirschelman: 9781423405719: Amazon.com: Books

Chris Buono also has a tapping workout series that is designed to build your strength and endurance that you may want to check out here (he's also sporting the same sweet hot pink fretwrap that I have, haha) - Guitar Gym: Tapping - Chris Buono - Guitar Lessons

Some good, clean 8 string tapping here too:


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## Spectre 1 (Jan 30, 2014)

A piece of tape, or somebodies finger over the strings at the first fret was good enough for Marty Friedman. I think in the beginning if you can minimize annoying noises while you focus on the core technique it will keep you motivated. As you get more comfortable you can start learning how to mute with your hands and then once you are really on top of it stick the tape/wrap/whatever back on and let it rip.


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## Sir Taffey (Jan 31, 2014)

*Tapping*

Theoretically, you can do anything. I like making 7th arpeggios over 2 strings with power chord shapes as my standard go to for messing around. You can throw taps on top of anything. Get creative. Pick the strings at the 12th fret so that you can tap randomly at like 15 or 17 whenever you felt like it and keep on picking

In practice: Use all 3 fingers that aren't in use. Start hybrid picking to help their independence, tap pentatonics with your picking hand to get it up to scratch, tap something with your fretting hand and mirror it an octave up with your picking hand. Literally anything you do can help you

This muting nonesense. I like to use my hair band for when I want to focus on tapping but I don't feel like being perfect. It lets me just enjoy what I'm doing and keep the wonder of the music for me. When my band records it is a must for each and every section that doesn't use open strings, we tune to target notes and get it perfect. Practice your ass off without the help, pay attention to the join that Guthrie talks about, make sure you are playing in time, use a metronome, and nobody is too good for a tuner. ever. And when you are recording or messing around then by all means fretwrap or hairband that b*tch. Live I don't use it because not everybody in the audience is a musician and wont really notice some bleeding as long as you practiced well at home.


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## Sir Taffey (Jan 31, 2014)

*Tapping*

Theoretically, you can do anything. I like making 7th arpeggios over 2 strings with power chord shapes as my standard go to for messing around. You can throw taps on top of anything. Get creative. Pick the strings at the 12th fret so that you can tap randomly at like 15 or 17 whenever you felt like it and keep on picking

In practice: Use all 3 fingers that aren't in use. Start hybrid picking to help their independence, tap pentatonics with your picking hand to get it up to scratch, tap something with your fretting hand and mirror it an octave up with your picking hand. Literally anything you do can help you

This muting nonesense. I like to use my hair band for when I want to focus on tapping but I don't feel like being perfect. It lets me just enjoy what I'm doing and keep the wonder of the music for me. When my band records it is a must for each and every section that doesn't use open strings, we tune to target notes and get it perfect. Practice your ass off without the help, pay attention to the join that Guthrie talks about, make sure you are playing in time, use a metronome, and nobody is too good for a tuner. ever. And when you are recording or messing around then by all means fretwrap or hairband that b*tch. Live I don't use it because not everybody in the audience is a musician and wont really notice some bleeding as long as you practiced well at home.


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## The Reverend (Jan 31, 2014)

I'm not really a big tapping guy, but for my $.02, I like fretting a chord or tapping a triad with my fret hand, and then using my pick hand to play a melody underneath. For instance, I would fret an Am triad and then tap some of the chord tones, or do a few slides with my fret hand. I usually just do that when I'm messing around, though, I'm not really partial to tapping licks.


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## QuantumCybin (Jan 31, 2014)

All very awesome advice; trying to view it more like a piano is making more sense to me, at least in how a melody can be constructed with this technique. I owe you guys positive rep for the time you've taken to actually post something.

I'll be sure to keep asking all my questions hahaha


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## tyler_faith_08 (Jan 31, 2014)

This may help:

Original fret - tonic
+1 fret - m2
+2 frets - M2
+3 frets - m3 
+4 frets - M3/dim4 
+5 frets - P4 
+6 frets - aug4/dim5 
+7 frets - P5 
+8 frets - aug5/m6 
+9 frets - M6
+10 frets - m7
+11 frets - M7
+12 frets - octave

So if you're tapping on the high e-string on frets 12, 16, 19, you're tapping an E major arpeggio. Does anyone want to dive off into chord theory? If not, I will.

EDIT:

I'll throw some more in here. Since arpeggios follow the same rules as chords and tapping is a form of executing an arpeggio, knowing chord theory will help. 

The same rules apply here. For instance, there can be inversions, different voicings (or whatever you want to call it with tapping) and other things. If you're including the tonic, you might consider a minor or major seventh. Also, if you're playing over an Em, you'd be somewhat redundant in playing an Em tapping lick. 

Take this progression:

D, Em, Bm, G

I'd likely play in D Ionian until I got to the G and then modulate to G Ionian to give an unexpected resolution. Maybe a Gsus#4 and a Gmaj7. If you tapped to each of the chords using the same notes, it'd feel shallow. Idk, just an idea. 

I've always looked at tapping as a way to not have to think too much because it gives you the time to think because you're playing the same thing over and over (typically) and people are still wowed by it. It's a win-win situation. A good place to start is looking at EVH's old stuff. Eruption uses a number of different things, as does Hot For Teacher and Spanish Fly. A little learning followed by analysis will give you some sort of an idea.


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## viesczy (Jan 31, 2014)

wespaul said:


> Such a silly guitar-snob thing to say. Somebody get on the phone to Andy James and Guthrie Govan tell them their technique is suffering because of their hair ties



Get it right, they are goodie squiggies and not hair ties!!





And you left Greg Howe out as a guy who uses the goodie squiggies! 

Honestly sounds like the OP doesn't need anything more than more time on the neck, KNOWING the notes across it. After that getting the mechanics of our instrument down, it is crazy creativity time. 

Derek


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