Advanced tapping

[Excalibur]

With a little help from my friends

Sweep Tapping(Obviously this will improve your sweeping too)
Necrophagist--Stabwound
Necrophagist--Symbiotic In Theory
Necrophagist--Fermented Offal Discharge
Dream Theater--Under A Glass Moon
Dragonforce--Valley Of The Damned


Tapping
Guthrie Govan--Fives
Paul Gilbert--Four Seasons
Arsis--We Are The Nightmare
Extreme--Get The Funk Out
Mr. Big--Green Tinted Sixties Mind
Symphony X--Sea Of Lies
Symphony X--Of Sins And Shadows
Symphony X--Eve of Seduction
Steve Vai--Building The Church
Steve Vai--Liberty
Paul Gilbert--Get Out Of My Yard (without human capo)
Van Halen--Hot For Teacher
Van Halen--Jump
Van Halen--5150
Van Halen--Eruption
Van Halen--Dreams
Dokken--Tooth And Nail
Dream Theater--Wait For Sleep
Dave Martone--Starz Scarz
Dave Martone--Fumble Fingers
Buckethead--Jordan
Protest The Hero--Bloodmeat
Reb Beach--Black Magic
Bumblefoot--Guitars Suck
Mattias Eklundh--Lisa\'s Passion For Heavy Metal

Touchstyle Tapping (separated as deciding difficulty would get difficult otherwise)
Joe Satriani--Midnight
Joe Satriani--Day At The Beach
Joe Satriani--The Forgotten Pt. 1
Joe Satriani--The Headless Horseman
Dave Martone--Tap Thang
Kiko Loureiro--Tapping Into My Dark Tranquility
Angra--Heroes Of Sand
Zack Kim--Super Mario Theme
Stanley Jordan--Anything



Now for the icing on the cake......

MEGAUPLOAD - The leading online storage and file delivery service < My Tab Collection, there's a couple of hundred of advanced and simple tapping exercises, plus the majority of the songs I mentioned above.

Enjoy

 

[theshred201]

That seems like a list very similar to the one from a thread of mine on UG. I really needed to update that one, as many more examples had been mentioned.. Too bad it disappeared with the forum changes over there.

 

[ShadyDavey]

There's just so many artists who use tapping that you'd need a couple of pages to do them all justice - or possibly start with the simpler licks (Eruption style) and move up to the crazy mutli-finger barrages (Batten, Jordan, Lynch et all) later on. Some of the Derryl Gabel licks for example are challenging as all heck for the left hand while the right hand has it positively easy, or look at Reb Beach where you're plucking and tapping to create those lines.

Man, you could write a freaking book and not cover all of it

 

[Excalibur]

That seems like a list very similar to the one from a thread of mine on UG. I really needed to update that one, as many more examples had been mentioned.. Too bad it disappeared with the forum changes over there.

I've still got a copy of it, if you want it, FP posted it recently after somebody asked it

 

[victor5464]

Now for the icing on the cake......

MEGAUPLOAD - The leading online storage and file delivery service < My Tab Collection, there's a couple of hundred of advanced and simple tapping exercises, plus the majority of the songs I mentioned above.

Enjoy

thanks! ill get right on this

 

[Excalibur]

thanks! ill get right on this

It's my pleasure, enjoy

 

[theshred201]

I've still got a copy of it, if you want it, FP posted it recently after somebody asked it

Eh, I'm not too worried about it. What I'd be more interested in is if anyone has a copy of my sweeping lesson....

 

[Excalibur]

Eh, I'm not too worried about it. What I'd be more interested in is if anyone has a copy of my sweeping lesson....

[FONT=&quot]Quote:[/FONT]
[FONT=&quot]Originally Posted by TheShred201[/FONT]
[FONT=&quot]As I mentioned, there are some exceptions to this rule.

One is If you want the sound of an arpeggiated chord--all the notes ring out, but the arpeggio of the notes is still heard. This technically isn't really considered sweeping, but all of the right hand information given thus far is useful in this situation.

Another, is when you want a relatively percussive, generally VERY fast sound. Dave Martone does some things like this. You hold the fingers on their frets, but rely on very heavy palm muting to get each note to sound individually. This let's you sweep MUCH faster, but changes the sound into something that can be more percussive than normal sweeping, and runs the risk of getting quite muddy.

Another exception is when performing a rake. A rake is where a small group of notes (often dead notes/left hand mutes) are played in quick succession on consecutive strings on the way to a specific note. Ex:[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e-|---------------[/FONT]
[FONT=&quot]B-|----14b-16~~~~~[/FONT]
[FONT=&quot]G-|---x-----------[/FONT]
[FONT=&quot]D-|--x------------[/FONT]
[FONT=&quot]A-|-x-------------[/FONT]
[FONT=&quot]E-|---------------[/FONT]

[FONT=&quot]

The last exception to this rule is when executing hammer ons and pull offs during the sweep. In this case, the one finger and one fret rule is gone, but the rule that only one string should have any notes fretted on it remains.

To be quite honest, that's all I have to say about the left hand......for now! [/FONT][FONT=&quot] [/FONT][FONT=&quot]The rest will fall into a different category, called:

[/FONT][FONT=&quot]Muting[/FONT][FONT=&quot]

Muting is everything you do to keep your sweeps sounding like arpeggios, not chords.

Let's look at LEFT hand muting first, as it's more complex and more important than right hand muting.

As I mentioned, with the left hand you should only have one finger fretting a string at a time. This means that after you play a note, you have to lift your finger off that string. However there's a trick involved.

First, you don't want to lift your finger very far away from the fret. If you keep it relatively close, it will make it easier to fret the note that you need that finger for.

Now for the important part--as you lift your finger off the fretted string, the tension will initially hold the string against your finger until it is straight. That is IF you don't lift extremely fast, and IF you lift straight up. You want to AVOID doing a pull-off to the open strings at all costs. The idea is to lift your finger off the fret in a way that stops all of the vibration on the string. My advice is to practice VERY slowly until you get the idea for what you need to do to accomplish this, and then speed it up.

BUT WAIT!

What if there are two consecutive strings with the same fret?

For example, what could you do here?[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e|-10p-7-------7-10-[/FONT]
[FONT=&quot]B|-------7---7------[/FONT]
[FONT=&quot]G|---------7--------[/FONT]
[FONT=&quot]D|------------------[/FONT]
[FONT=&quot]A|------------------[/FONT]
[FONT=&quot]E|------------------[/FONT]

[FONT=&quot]

Removing the pointer and moving it on the next string would be VERY un-economical.

That's why you use a different technique to do this. It's called Rolling. Rolling is somewhat like a bar, but with subtle differences. When rolling, for the lowest note, you should fret it as a normal note. To fret the second note, instead of moving your finger, bend it backwards a bit at the b first knuckle (closest to the tip) by applying pressure down and backwards. This should cause the fleshy part of your finger to fret the note while the very tip of the finger is pulled off the fretted string it was just on, but still touches it, keeping it from ringing. As it's hard to explain in text, hopefully I will be able to make a video. Play around with it a bit, and go SLOW to make sure that you keep the other strings from ringing out. For three string rolls, you just have to roll your finger farther back. You'll end up using a section closer to your hand than normal to fret the notes, but after a while it will feel very natural.

As a note, some guitarists prefer to keep one finger on one string during situations where other's would roll. Personally, I find rolling more comfortable.



Now on to RIGHT hand muting.

As a note, I recommend using right hand muting to compliment left handed muting, and recommend relying more on the left.

There are two areas of the right hand that can be used for muting. One is the side of the palm as you'd use to palm mute a riff. The other is the fleshy area at the base of the thumb (inside the "life" line for anyone who knows anything about palm reading).

Typically, I use the area at the base of the thumb. However, I don't actually mute the strings I'm playing.

On an ascending sweep, I mute a couple strings behind where I'm picking. This gives me the smoother, unmuted sound for the tone of the notes, and keeps the strings I'm not playing from ringing out. In a sense, I almost drag my hand behind the pick to keep the strings muted.

On a descending sweep I'm muting the strings ahead of where I'm picking, as I'm gradually getting my hand out of the way. Since the pick is towards the bottom of my hand, it would be pointless and difficult to try to mute behind where I'm picking.

As I mentioned, I don't like to rely on right hand muting. However in some cases, this can be good. If you want a more percussive sweep, a heavy palm mute can be good. At times this can be used to go VERY fast, though the notes won't be nearly as clear as they normally are.

Dave Martone does some sweeping involving this. It involves using a palm mute to keep the strings from ringing together but at very high speeds. In this situation, you do not need to worry about the one finger on one fret rule either.


[/FONT][FONT=&quot]THEORY[/FONT][FONT=&quot]
Generally, one sweep picks arpeggios. Arpeggios are chords with the notes played separately as opposed to together. For information on chords and arpeggios, please read this:
[/FONT][FONT=&quot]http://www.ultimate-guitar.com/foru...ad.php?t=503032[/FONT][FONT=&quot]


However, While most sweeps are relatively similar and based on quite common arpeggio shapes (generally very similar to typical barre chords), don't be afraid to get creative. Here's a fun sweep from Mattias Eklundh.[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e-|----------------16-19-------------------[/FONT]
[FONT=&quot]B-|-------------14-------17----------------[/FONT]
[FONT=&quot]G-|----------13-------------16-------------[/FONT]
[FONT=&quot]D-|-------16-------------------21----------[/FONT]
[FONT=&quot]A-|----14-------------------------19-------[/FONT]
[FONT=&quot]E-|-12-------------------------------16-12-[/FONT]

[FONT=&quot]
In case you are wondering, that's a relatively unique way of playing an E6/9 arpeggio. In the song it's in, that sweep is played as sextuplets at 140 BPM.

Also, when making a sweeping lick, you aren't forced to go straight up and down the full set of strings on every sweep. Here is a sweeping lick similar to some by Dave Martone that is a bit more broken up. In case you are wondering, it's an A minor arpeggio played in small chunks. The chunks consist of 3 down picks followed by one up pick and one pull off.[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] S S S S S S S S S S S S S S S S [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]E||--------------------------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]B||--------------------------------------13-17-13----|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]G||-----------------------14-17-14----14----------14-|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]D||--------14-19-14----14----------14----------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]A||-----15----------15-------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]E||--17----------------------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] S S S S S S S S S S S S S S S [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----12-17-12-------17-20-17-------------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--13-------------17----------17----------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--------------17----------------17-------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----------------------------------19----------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--------------------------------------19-------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----------------------------------------20-17-||[/FONT]

[FONT=&quot]


[/FONT][FONT=&quot]How To Practice Sweeping[/FONT][FONT=&quot]
There are 3 keys to practicing sweeping.

The first is SLOWLY. You should generally practice slow enough that you consistently play all the right notes, mute them well, and have proper right hand technique. Of course the occasional error is fine, but you shouldn't be going beyond the limit of where you can play it cleanly.

The second is WITH A METRONOME. You want your sweeps to be in time, and using a metronome allows you to execute the first key with greater precision. You will know how fast you can play the sweeps, and can measure your improvement.

The third is WITH AND WITHOUT DISTORTION. Sweeping on the clean channel is GREAT for making sure that you sound all of your notes clearly. However, the other half of sweeping, muting, is much better practiced with distortion. WIth a high gain tone, the compression makes it seem like you are playing all the notes well, but also amplifies strings which ring out, showing you better that you are muting poorly.

Remember that learning to sweep well can take time, so don't get worried if you aren't able to play Serrana (by Jason Becker) after a week. Just stick with it and you'll get it eventually.

-TheShred201[/FONT]

 

[vontetzianos]

Buckethead also has some cool tapping vocabulary. I'm not really a fan of his music so I can't quote, but you could check some of his stuff.

 

[theshred201]

[FONT=&quot]Quote:[/FONT]
[FONT=&quot]Originally Posted by TheShred201[/FONT]
[FONT=&quot]As I mentioned, there are some exceptions to this rule.

One is If you want the sound of an arpeggiated chord--all the notes ring out, but the arpeggio of the notes is still heard. This technically isn't really considered sweeping, but all of the right hand information given thus far is useful in this situation.

Another, is when you want a relatively percussive, generally VERY fast sound. Dave Martone does some things like this. You hold the fingers on their frets, but rely on very heavy palm muting to get each note to sound individually. This let's you sweep MUCH faster, but changes the sound into something that can be more percussive than normal sweeping, and runs the risk of getting quite muddy.

Another exception is when performing a rake. A rake is where a small group of notes (often dead notes/left hand mutes) are played in quick succession on consecutive strings on the way to a specific note. Ex:[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e-|---------------[/FONT]
[FONT=&quot]B-|----14b-16~~~~~[/FONT]
[FONT=&quot]G-|---x-----------[/FONT]
[FONT=&quot]D-|--x------------[/FONT]
[FONT=&quot]A-|-x-------------[/FONT]
[FONT=&quot]E-|---------------[/FONT]

[FONT=&quot]

The last exception to this rule is when executing hammer ons and pull offs during the sweep. In this case, the one finger and one fret rule is gone, but the rule that only one string should have any notes fretted on it remains.

To be quite honest, that's all I have to say about the left hand......for now! [/FONT][FONT=&quot] [/FONT][FONT=&quot]The rest will fall into a different category, called:

[/FONT][FONT=&quot]Muting[/FONT][FONT=&quot]

Muting is everything you do to keep your sweeps sounding like arpeggios, not chords.

Let's look at LEFT hand muting first, as it's more complex and more important than right hand muting.

As I mentioned, with the left hand you should only have one finger fretting a string at a time. This means that after you play a note, you have to lift your finger off that string. However there's a trick involved.

First, you don't want to lift your finger very far away from the fret. If you keep it relatively close, it will make it easier to fret the note that you need that finger for.

Now for the important part--as you lift your finger off the fretted string, the tension will initially hold the string against your finger until it is straight. That is IF you don't lift extremely fast, and IF you lift straight up. You want to AVOID doing a pull-off to the open strings at all costs. The idea is to lift your finger off the fret in a way that stops all of the vibration on the string. My advice is to practice VERY slowly until you get the idea for what you need to do to accomplish this, and then speed it up.

BUT WAIT!

What if there are two consecutive strings with the same fret?

For example, what could you do here?[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e|-10p-7-------7-10-[/FONT]
[FONT=&quot]B|-------7---7------[/FONT]
[FONT=&quot]G|---------7--------[/FONT]
[FONT=&quot]D|------------------[/FONT]
[FONT=&quot]A|------------------[/FONT]
[FONT=&quot]E|------------------[/FONT]

[FONT=&quot]

Removing the pointer and moving it on the next string would be VERY un-economical.

That's why you use a different technique to do this. It's called Rolling. Rolling is somewhat like a bar, but with subtle differences. When rolling, for the lowest note, you should fret it as a normal note. To fret the second note, instead of moving your finger, bend it backwards a bit at the b first knuckle (closest to the tip) by applying pressure down and backwards. This should cause the fleshy part of your finger to fret the note while the very tip of the finger is pulled off the fretted string it was just on, but still touches it, keeping it from ringing. As it's hard to explain in text, hopefully I will be able to make a video. Play around with it a bit, and go SLOW to make sure that you keep the other strings from ringing out. For three string rolls, you just have to roll your finger farther back. You'll end up using a section closer to your hand than normal to fret the notes, but after a while it will feel very natural.

As a note, some guitarists prefer to keep one finger on one string during situations where other's would roll. Personally, I find rolling more comfortable.



Now on to RIGHT hand muting.

As a note, I recommend using right hand muting to compliment left handed muting, and recommend relying more on the left.

There are two areas of the right hand that can be used for muting. One is the side of the palm as you'd use to palm mute a riff. The other is the fleshy area at the base of the thumb (inside the "life" line for anyone who knows anything about palm reading).

Typically, I use the area at the base of the thumb. However, I don't actually mute the strings I'm playing.

On an ascending sweep, I mute a couple strings behind where I'm picking. This gives me the smoother, unmuted sound for the tone of the notes, and keeps the strings I'm not playing from ringing out. In a sense, I almost drag my hand behind the pick to keep the strings muted.

On a descending sweep I'm muting the strings ahead of where I'm picking, as I'm gradually getting my hand out of the way. Since the pick is towards the bottom of my hand, it would be pointless and difficult to try to mute behind where I'm picking.

As I mentioned, I don't like to rely on right hand muting. However in some cases, this can be good. If you want a more percussive sweep, a heavy palm mute can be good. At times this can be used to go VERY fast, though the notes won't be nearly as clear as they normally are.

Dave Martone does some sweeping involving this. It involves using a palm mute to keep the strings from ringing together but at very high speeds. In this situation, you do not need to worry about the one finger on one fret rule either.


[/FONT][FONT=&quot]THEORY[/FONT][FONT=&quot]
Generally, one sweep picks arpeggios. Arpeggios are chords with the notes played separately as opposed to together. For information on chords and arpeggios, please read this:
[/FONT][FONT=&quot]http://www.ultimate-guitar.com/foru...ad.php?t=503032[/FONT][FONT=&quot]


However, While most sweeps are relatively similar and based on quite common arpeggio shapes (generally very similar to typical barre chords), don't be afraid to get creative. Here's a fun sweep from Mattias Eklundh.[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]e-|----------------16-19-------------------[/FONT]
[FONT=&quot]B-|-------------14-------17----------------[/FONT]
[FONT=&quot]G-|----------13-------------16-------------[/FONT]
[FONT=&quot]D-|-------16-------------------21----------[/FONT]
[FONT=&quot]A-|----14-------------------------19-------[/FONT]
[FONT=&quot]E-|-12-------------------------------16-12-[/FONT]

[FONT=&quot]
In case you are wondering, that's a relatively unique way of playing an E6/9 arpeggio. In the song it's in, that sweep is played as sextuplets at 140 BPM.

Also, when making a sweeping lick, you aren't forced to go straight up and down the full set of strings on every sweep. Here is a sweeping lick similar to some by Dave Martone that is a bit more broken up. In case you are wondering, it's an A minor arpeggio played in small chunks. The chunks consist of 3 down picks followed by one up pick and one pull off.[/FONT]
[FONT=&quot]Code:[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] S S S S S S S S S S S S S S S S [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]E||--------------------------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]B||--------------------------------------13-17-13----|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]G||-----------------------14-17-14----14----------14-|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]D||--------14-19-14----14----------14----------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]A||-----15----------15-------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]E||--17----------------------------------------------|[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot] S S S S S S S S S S S S S S S [/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----12-17-12-------17-20-17-------------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--13-------------17----------17----------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--------------17----------------17-------------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----------------------------------19----------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]--------------------------------------19-------||[/FONT]
[FONT=&quot] [/FONT]
[FONT=&quot]-----------------------------------------20-17-||[/FONT]

[FONT=&quot]


[/FONT][FONT=&quot]How To Practice Sweeping[/FONT][FONT=&quot]
There are 3 keys to practicing sweeping.

The first is SLOWLY. You should generally practice slow enough that you consistently play all the right notes, mute them well, and have proper right hand technique. Of course the occasional error is fine, but you shouldn't be going beyond the limit of where you can play it cleanly.

The second is WITH A METRONOME. You want your sweeps to be in time, and using a metronome allows you to execute the first key with greater precision. You will know how fast you can play the sweeps, and can measure your improvement.

The third is WITH AND WITHOUT DISTORTION. Sweeping on the clean channel is GREAT for making sure that you sound all of your notes clearly. However, the other half of sweeping, muting, is much better practiced with distortion. WIth a high gain tone, the compression makes it seem like you are playing all the notes well, but also amplifies strings which ring out, showing you better that you are muting poorly.

Remember that learning to sweep well can take time, so don't get worried if you aren't able to play Serrana (by Jason Becker) after a week. Just stick with it and you'll get it eventually.

-TheShred201[/FONT]

Ahh, it's not the whole thing, but thank you VERY much. I've been trying to find this so I can edit it, improve it, etc.

 

[Excalibur]

It's my pleasure

 

[ShadyDavey]

There was that Guitar Techniques issue with 40 tapping licks. Some of the last ones are quite intense, so they'll perhaps help you. I could post them for you if you like.

Slight necro bump but I thought a new thread would be silly so hot on the heels of this one. Is there anyone out there who has this article? I've tried locating it on the net and haven't had any luck.

Thanks in advance

 

[vontetzianos]

Slight necro bump but I thought a new thread would be silly so hot on the heels of this one. Is there anyone out there who has this article? I've tried locating it on the net and haven't had any luck.

Thanks in advance

Oh man, I forgot to post them. I'll have it up by tomorrow.

 

[ShadyDavey]

No worries fella, anytime is good for me

 

[vontetzianos]

Its giving me trouble to post all the pages, but I'll make a plan.

 

[Excalibur]

Put them all in a zip file and upload them

 

[vontetzianos]

Put them all in a zip file and upload them

I'd need probably 12 zip files, even on lowest quality on the pics. I'll post 5 now then post the rest on another post coz it'll only let me upload 5 at a time.

 

[ShadyDavey]

Thats awesome - thanks for taking the time to do it

 

[vontetzianos]

Here's the rest of it...

and do as my teacher said to me: learn some of them and show off to your friends; learn them all, and become their new god.

 

[theshred201]

Ah, I've got those too...I'll post a GP later today in case anyone wants it and doesn't feel like converting it all I just need to get on my other computer.