{"id":243,"date":"2013-11-27T22:54:40","date_gmt":"2013-11-28T03:54:40","guid":{"rendered":"http:\/\/www.danjost.com\/blog\/?p=243"},"modified":"2015-11-06T11:07:39","modified_gmt":"2015-11-06T16:07:39","slug":"two-hand-tapping-guitar-lesson-vol1","status":"publish","type":"post","link":"https:\/\/www.danjost.com\/blog\/two-hand-tapping-guitar-lesson-vol1\/","title":{"rendered":"Two Hand Tapping Guitar Lesson – Vol. 1"},"content":{"rendered":"
\"two<\/a>

Vahe Sarkissian<\/p><\/div>\n

People have been asking me to create a two hand tapping guitar lesson, so I am excited to present the first of what I would like to make a series of tapping lessons with accompanying videos. What I love about this piano-esque technique is the possibility of creating chord\/melody arrangements with a wider range of intervals and chord voicings. Also, the percussive element adds a great feel.<\/p>\n

*Transcriptions and Video Tutorial included in this article*<\/em><\/p>\n

I will begin by discussing basic Major and Minor arpeggios which can be used for a rhythm or lead oriented part. Although there are numerous voicings, I will discuss voicings that span 3 various string groups. Before we get started, here is a list of terms you should know for this article:<\/p>\n

6543<\/b>– Low E, A, D, and G strings<\/p>\n

5432<\/b>– A, D, G, and B strings<\/p>\n

4321<\/b>– D, G, B, and high E strings<\/p>\n

LF<\/b>– left hand<\/p>\n

RH<\/b>– right hand<\/p>\n

Now let\u2019s get started. I will break things down into 3 basic steps:<\/p>\n

1. Learn Major and Minor shapes on 3 string groupings: 6543, 5432, 4321<\/b><\/p>\n

2. Play each arpeggio with the 3 patterns that will be discussed.<\/b><\/p>\n

3. Apply arpeggios and patterns to chord progressions of your creation.<\/b><\/p>\n

In example 1<\/b>, we see a Major arpeggio followed by a Minor arpeggio using the 6543 grouping. This particular shape goes from Root, to 5th<\/sup>, to octave, to 3rd<\/sup>, as will all the shapes discussed in the lesson. To execute this, tap the root (R) LH, then the 5th<\/sup> RH, octave RH, and 3rd<\/sup> LH. Apply this pattern to all arpeggios to get started. Examples 2 and 3<\/b> are the same idea using the 5432 and 4321 groupings respectively.<\/p>\n

DOWNLOAD:<\/strong>\u00a0Example 1 Transcription – PDF<\/a><\/p>\n

Now let\u2019s begin to apply some patterns to these arpeggios to give you some variations.<\/p>\n

Pattern 1<\/b> uses a 3 or 6 pattern, depending on how you look at it. I like this one because it incorporates an ascending and descending component:<\/p>\n

LH RH RH LH RH RH<\/p>\n

<\/b>Pattern 2<\/b> utilizes the left hand first, then completing the pattern with the right hand:<\/p>\n

LH LH RH RH<\/p>\n

Pattern 3<\/b> is simply the pattern we used to execute the initial Major and Minor arpeggios:<\/p>\n

LH RH RH LH<\/p>\n

DOWNLOAD:\u00a0<\/strong>Example 2 Transcription – PDF<\/a><\/p>\n

\u00a0To bring this lesson to a close, I have transcribed a lead exercise\/lick that uses pattern 1 over various chords in the key of D minor. This can be seen in the beginning of the accompanying video as well as a slowed down version towards to end.<\/p>\n

DOWNLOAD:<\/strong> \u00a0Example 3 Transcription – PDF<\/a>
\n<\/a><\/span><\/i><\/b><\/p>\n

After playing around with these basic shapes you will most likely find yourself experimenting with different chords\/voicings by simply moving the same fingers to different frets. This style naturally lends itself to creating unique intervals and sounds. In the upcoming lessons I will advance on the Major and Minor shapes in addition to discussing the application of all this.<\/p>\n

VIDEO TUTORIAL:<\/strong><\/p>\n