TAR Wet lt ADVANCED TWO-HAND TAPPING BY DAVE CELENTANO Special thanks to kis, he Celentano fomily, Frank Green at D’Angelico Stings, ‘Wayne Charvel and Etc Gallotta at WRC Gultars, Ron Middlebrook at Centerstream Publishing and al my students Cover Art -Kevin Davidson ‘Typesetting and Music Notation-Naderm Music Services Tayout and Production-Ron Middlebrook ISBN 0-931759-82-X ‘SAN 683-8022 Copyright © 1994 CENTERSTREAM Publishing, P.O. Box 5450 - Fullerton CA 52935 Allright or pubtiaton an dtbuton ae ered, No prt as bak maybe reprised nay om ot {ran elecronicormechanscl metns nung arma storage an err ssens without SesionContents Biography. ...3 Introduction...4 Explanation of Tab, Symbols and Terms...5 L * Tips for Developin; d Tapping T: i Exercises. ..8 xamples 1,2,and3 m1. * Parallel Tapping. ..9 AMinor Pentatonic EMinor Pentatonic Bxamples4,5,6,and7 Ww. * Scales With Two Hand Tapping... 11 Major Examples 8,9, 10, nd 11 v. * Sequencing Licks With Scales. . . 13 ‘Examples 12, 1,14, 15, 16,17, 18,19, 20,22, 29, 24, 28, and 26 vi. + Pentatonic Scale With Tapping. . . 21 xamples27, 28, and 29 vu. * Arpeggios With Two Hand Tapping. . . 23 ‘Examples 30,31, 32, 33, 34, 35, 6, 7, 98,99, and 40 vu. » Complete Musical Pieces Using Tapping. .. 27 Tip Tapping. ..27 Prelude in C Major. ..28 Ix. * Conclusion. .. 30Photo by Lawrence Photography EO eae Dave Celentano’s eatty inspiration and experience on the guitar came from lessons with Morty Friedman, Soon afterwards, Dave relocated to Southein Calfomia to attend GIT were he studied with Jennifer Batten, Paul Gilbert, Frank Gambole and more. To date he’s witten nine guitar method books: The Magic Touch. Flying Fingers, Rock Licks, Speed Metal, The Art of Transcribing, Monster Scales and Modes, Kiler Pentotonics, Jamming with the Modes and his latest, Over the Top Tapping, Dave hos also done several Star Licks videos, transcribed many books for Hal Leonard Publishing ond has had his work appear in Guitar Word and Guitar Schoo! magazines Currently, Dave is teaching guitar at Graysons Tunetown in Montrose, California, Gard's Music in Glendora. California, Wattrp's Music in Arcadia, California, doing clinics for D'Angelico Stings and WRC guitars and finishing up @ CD recording with his band Sr RealALLA This book presents the newest and most up to date ideas and techniques usin two hand tapping. Tapping can be easily incorporated into solos of songs and wort extremely well in instrumental solo pieces 100, (as you'll hear on the recordin accompanying this book). The following examples are designed to take the student from the beginning tappin level all the way through super advanced. Listen to the accompanying recordin 80 you can hear the powerful impact tapping can have on your playing, then lear the examples and apply them in your own playing. With a little creative imaginatio you too will be creating some fretboard magic of your own.LUO) LL The horizontal ines represent the six strings of the guitar. Tablature thetopinesine ising (gh D. Ihe eceee kee from the top Is the 2nd sting ( sting) etc.. The numbers on the horizontal lines indicate the fret to place your finger on. : The proper finger to use is located under the tablature FING eS Yeon Raed middie 3 fing and 4 = pinky. Circled fingers indicate right hand tapping fingers. Un- circled fingers are left hand Simile = Continue same pattem, ZA. = Repeat previous lick. P ull off. H = Hammer on. T= Tap with right hand, SL. = Slide from one note to the next. C major a hades Fingers 1 2 4@O@O124OO0O1240I.Tips FoR DEVELOPING A Goop TapPiNG TECHNIQUE 1.) Use your thumb as an anchor and support on the top side of the neck 2.) Think of the tapping fingers on your right hand as maliots or little hammers. They should strike the string in the same fashion as a hammer on. 3.) Use extrarlight strings (.009 thru 042). 4) luse a elastic terry-cloth hairtie to help mute the stings!mnot tapping on, This will your tapping tremendously by getting rid of all unwanted sting noise, Istretch mine « the headstock of the guitar and place it in the fist fret. Obviously you won't be abl Use any open strings.8.) If the tapping technique is a little difficult try lowering the string action a bit. 6.) Concentrate on making alll the notes even, clear and the same volume. 7.) Work out the licks and ideas in this book slowly at firs, then gradually bulld up speed. Hint: do this with a metronome. 8) There's two ways to do a pulloff from the right hand tap: a.) You can tap a note with a right hand finger and pulF-offin an upward motion towards the ceiling or. b) Youcan tap anote with a right hand fingerand pull-offin a downward motion towards the floor. Both ways ofdoingapultotfomatapped note are valid. Do it the way that feels ‘most comfortable to you.I]. Exercises Example 1s afantastic exercise tohelpyoudevelopandstrengtheneach finger independently. After completing this, try dolngit backwards andon allskstiings. Keep your right hand thumb anchored on the top edge of the guitar neck. Bou ee ee ee ee ee ee \ oe To 7 oe TOTS Toe To TOTer 12)" Example 2 incorporates a "mirorimage" concept. This is done by topping five frets higher withthe ght hand the same ‘shape" that the left hand plays. Once youve completed ths, try it descending. 5.2700 o NG Frere D1 O?B>O* 01020304 0107070 O1OTOO® 0'070*0* 010:076- 7) Example 3 cso uses the ‘mitror-mage"idea. Once youve playeditsucesstuly twotimes, ‘move the whole lick up one fret and repeat. Continue moving up the neck one fret at atime unfi you reach the highest fret on your guitar, then descend, ne? bx.3° GoIII. PARALLEL TAPPING Parallel topping involves tapping the same shape with your right hand that your lef handis playing Gust fike the mirtor mage in Chapter Il). The shapes that youll visualize on your fretboard ore & minor pentatonic at the fith fret and E minor pentatonic at the twelfth fret, A minor E minor Pentatonic Pentatonic Ex.4 These two scoles work good together because the notes of A ‘minor pentatonic ond E minor pentatonic axe all in the A ?ratural minor scale: Aminor pentatonic = AC DEG E minor pentatonic =EG ABD A natural minor =ABCDEFG Lots Begin by playing a simple idea so you can really see and hear how this works. Or arte iS HAA AH 1 Os ©1'60:0:0@2 ©10+0160% fron 1 © + O NAA ©' +010: 01027010: o10+6% aaett * Remember to thake the impact of the tapping, pull-offs and hammer-ons the same volume. 9Excmple 6100s the sameideaasthe previous example and sequences the lickin groups of six Fore © + O41 O1 G2 010491 O32 01020103 01030102 \ \ © 102015 01040102 010+ 010+ O1Or1: O The next idea sounds ke a repetitive keyboard line when played fast and steady. ‘Once you've mastered the parallel tapping in examples § thru 7, try moving your Right hand shape ¢€ ‘minor pentatonic) down two frets to the tenth fret (D minor pentatonic). This s stl in the key of A minor, but I Gives a ite different sound. Also try moving the Right hand shape up to the seventeenth fret (A ‘minor pentatonic an octave higher) and play the exact same shape licks as examples 5 thru 7. For both of the altemative ideas. your left hand remains at the fith fret (A minor pentatonic).IV. Scates with Two HANp TappiNn: (1) Nowwettuse eight tnger topping to play the Mojor scale. Example 8 uses six (Crates per sting on the Sth, Sd and Ist stings 080™ coor ‘Ss as—_ Foor 1 4OOO1 +000! 2+O ©00O+>+10G0+21O00 +85 Here are a few things to keep in mi 1.) Ones you've placed a finger on a string. try to keep It down on the sting, ‘slong as possible until you must moveiltto play anothernote, This willhelpimprove the overall precision and smoothness of the scales. 2) Isolate and woik on the par of the scale that change stings. Thisis often the source of cumbersome sting nose, so work extra hard fo clean it up. Make sure the last note of one string doesnt ring out over the fist note of the next string, Although these scales are written in one postion of the C major scale It would be Worth the effort fo leam and play these ideas in all the postions of C major and in other keys as well, Ityou need help with learning the other scale pattems and keys check out my book “Monster Scale and Modes." You can find it at the music store you bought this book at or order it from the back of this book. Example 9 shows how the C major scale looks on stings 64 and 2 \ ype 116°” Cmajor See titre, Fogers 124 GOO: 2 +01? +A O00H+ 71000171000 ti "Next weil combine Example 8 and 9 to give the scale a unique twist bo \ C major one haettt oat Figs 12 1OOO1 2 OOO! + OOO! # +OGO +1 +0091 > +0912 1009! 2 +000 12400012 + 0001240000 Example 11 Is the same as 10, but descending, yey Cmajor Ott fea ‘ ‘ Foe ©@O+ > 1000+ 2 1OGO+# 1OGO+#' OG@O+# 1 O04? 1OOO+# 1 OBO+? + ©00+2 1000171 0004316V. SEQUENCING LICKS WITH SCALES Tosequence click ond move it through a scale you must fist determine the lick you want to sequence. Example 12 ilustrates a sequence lick. Lear this and lay it repeatedly until youre comfortable with it. att Fa minor EACLE 4 ~Tecar Cr TORRE LS Cee" cote et EES en Next, Example 13 shows how the sequenced lick can be moved up (ascending) the neck on one sting. Ako try this moving down the eck (descending) and on other strings as well 26/6 Aminor et 0 Apu Prone ©4194 OOOO+2+ O4172+OO@O+2+ O11? «OOOO?! O61 94 OOOG4 21 O41 2+ OO0O+?2+ @Finally. Example 14 shows the sequenced lick descending ‘actOss the fretboard trom the fist sting thru the shh sting, ‘Ao do this ascending from the shh sting thru the fst sting, ‘and in other scale pattems as well \” Aminor Ente 8 Frome @ 419 4OGOO43) O41 24 OOOO42s O41 2400047! @ +124 OOOO+2+ 412+ OGOO+#: O11 21 OOOOt Now youre ready to do the same procedure with other sequences. Examples 15 thru 18 ore four new sequences to fly all over the fretboard ‘with, Apply them in the same fashion we did forthe 13thand 14th examples by moving them up and down one sting and across all sk strings. cll Weal te lata ome dl epee Mig, ) sa, mis 2p, ee PPPED, OPPEER OUTED Free O13 7 OOOO+ 1 3+ OSOOOT TITalle Arminor ee OO OTF 13 OSCOOTIT 0 aN Wh & Frttterss sete Tiptree erento fos OT OTOOOO VTS OTIT Examples 19 and 20 fake the sequencing concept one step further by combining different sequences into one long musical passage. @, os ‘Aminor Foire OOOBOOOs #12 4O42 1 2 4OOH1 2 +OOOOOOO+ 812 +4712 +OOO1 34 Ghatttersssctep 00000001212 4O+1s 00042 OOOits a5Aminor 20 fngre O41 2 4OOOO+?! 2400124 OO41 24 OOGO421240 OO1>+OO+1)+O 00421000421 GOOFThis next idea tokes a four note sequence and 2ig-2a98 up ‘through the scale, tuins around and comes back down, Ext ‘Aminor Foon +t © OGO4? +0001 O00 0124219144 OOOrF SpERY 4000+ 0@00013+5:10 13+060+3000+1+00 —_~ Pr@ree 21 @O0OH1GOHO+ 21 OH Ort nvrsae 7Example 22 takes ofour ond three notesequence andzig-2095, upthe scaleandback down. Thisonemovesthroughthescale ‘much faster than the previous example. mai ‘Amino Late Fees 2 § OOO1OOG12 +1 Ot? + OO0+1OGOO+41H1540 2010004210431 008 1000424104121 00010 Orr Orr ner tres Thisone really fles by zig-zaggIng with afive and threenote sequence (fivenotes {G0Ing up, three notes going down, five up, three down, etc.). ex23 ‘Aminor center fre § § OO©8OOOOO+1?+O+? + O00'21012+ 00000 Cnensaty O01 313491 OGO1OH O12: OOO OOOH? 124These next three ideas use intervals to create some interesting sounds. The interval used is 0 third, which means each note is three scale tones higher or lower than the previous note. Exemple 24 groups the interval of a third in twos and 2ig-zags through the scale. mt ‘Aminor aaa From + 4 O24 OO001201+ O02 1800012014 02+000 4@02++43001'00+00? 1+200:100'00:> Example 25 groups the Interval ofa third in threes 4 minor Poon) 6 @ OO? +01? O00 O01+O0?0++O007 © 14300410100? 116070014700 1010078 19Example 26 groups the interval of a third in fours. P24 minor Fre #12 OO?41O1 +0790 0140007014015 00? 401401 O001+1G002O 0141002001014 2 002 ee eenennnnnnnnn: 140100? OO++1OO1 HO 101420021VI. PENTATONIC SCALE WITH TAPPING The Pentatonic scale is a five note scale and is used widely by rock, blues and heavy metal guitarists. W) ox . dy) @ (ozen) nave CRomicA Heal Example 27 displays how the scale ks played using tapping, Notice the string skipping. Here's nice run sequenced in fours ascending, nen 0: postion change to a descending run. wx28 [200 “Aminor et Fron | 1 OOOOs 36 2000014 1100001212 000210 O11 +001? 00051004 00313003empe. ul “labe Fre) § OO+ 2 OO0O2+OO+1* 081200141 000+1002 EE Gee 1900! +00! 200091O O+ 1 +OG1 20002 100+ 180113009 Don't limit yourself fo just the licks and patterns I've shown. Play these ideas in other scale patterns for A minor pentatonic as well.»)Mil. ARPEGGIOS WITH Two HAanpb TapPiING Whatisan’arpeggio"? An orpeggiolsthenotes of achord playedseparately. Take {an A minor chord for instance. The notes in this chord are A.C, and E, Now you lay these three notes at the same time It produces an A minor ‘chord! but if you Play them consecutively (one after another you've got an A minor ‘aipeggio’. In this section well deo! strictly with arpeggios by applying them to common and Interesting chord progressions. XR See ‘The notes ina G mojor chord are G.B,andD,so G Major sequenced arpeggio lick. The second phase to leaning arpeggios Is to ‘apply them fo chord progressions. Now we'll ‘apply the sequenced arpeggio from the previ- ‘ousexampietothechordsinExample31.Check Fase = OOO +1 + OOO: « ‘out the classicalty flavored overtonesin thisone. CAs 0 Eo Ani Daa 8 Bie piece lo GE ©0041 + 000+ 1+ 0001+ + O00+1+000+4 Goaj maj Fin 00041400041 + O04 14000+1+ OOO+++OO0++ Bij Emi ©0041 110004 +4 OOO 14DHint: Record yourself playing just the chords in number 31, then rewind the tape and play the tapped arpeggios over your rhythm guitar on tape. Exomples 32 thru 34 are thee new sequenced arpeggio licks to opply over the chords of Example 31. Notice that these three new Icks use the same notes as the sequenced ‘rpeggio in Example 30. The only difference fs each lick rearranges the notes of the apeggio. Example 32 begins with your pinky finger Example 33 is quite a bit easier because It tapping, so it may be a little more difficut. leads with the index finger tapping. G Major G Major nes (0 Fre O41 O41 4 OOO+! Frome COL O14 OOO * Example 34 is unique because it leads off with @ hammer-on from the leff hand, op- posed fo the usual right hand tapping to begin with, Fngwe tt Oe © Ifyou feel daring, check out the next three examples. They are based off the same sequenced ‘arpeggio concept, but these incorporate two and three strings. 1@0410410 Example 35 uses notes of a G mojor chord on ‘adjacent strings. rome @O2O2+1O4+ +OExample 36's orpeggio utlzes sting skipping. Mejor OY fron 2 O1 +01 + OO! \n Example 37 you'l 80 that it's played on ‘three stings and uses sting skipping, \V> OMair ea =a. eee fochapesdoh trample stmovescces _Yarkibnow boop xpi tu 3 tote Re nareeran mene overs fe aes nega borigere arease iene inne eu you Cor ploy Shou etecRWy, ——Sameling eb you hold do ply Example Mensa comeche nee oe Bama rareuaco store moma corse, eft Gunifaessecote Practice this slowly and evenly at ist then minor arpegglo = G Bb D Coseveadit on Tooth inp over athe note ee et to mh fone ane ofp o> Ess Gna esate Eee Dp 0222101202101 2021012023 O82Ot 1G! 702309101 O12O89 25Example 39 tokes the some chord progression as the: receding example, but incorporates a more linear ‘@pproach. Make sure the franstion during the sting change is smooth ond flawless. GMajor | 2. Baap Oma) aN ©0+ +4001 +@+ 100+! O41 +001 ++ 1004+ Let Ani De “oc O04 +4001 +0411 00+! OO+1+001+H*1O0++ Now we'lldo 7th chord arpeggios. To find the 7th of ‘each chord simply count up seven scale degrees (scale fones) trom the root of each chord, Example - G major 7 sale notes This shows that the Scdenotes- G A 8 Cc DE | Fe} Téshowsthat ho Scoledegees-1 2 3 4 5 6|7 ‘an FF note, Go ahead and play Example 40. 22, G Major Gai Emi? Ani Bao « ‘ Frere © 2002012002 012002013002 011007012008 1200201300:VIII. Comptete Musica Pieces Usinc TAPPING Now we'llhearhow welltwohand tapping works with ‘twosolo instrumentalpleces. Thisfist one based off Coo! shape | came up with and moved it around. the fretboard, TIP TAPPING <> scan ma peat Sx J Fore 104010481040104@ 101010401010 10+@ 100 7 106 ry 10+0101010«010+0 1O+@ 10+@ 10+® 10+1O10+0 27The second of the two instrumental pieces was written by JS. Bach. This was originally written for harpsichord or piano but ‘works out fantastic for tapping on the guitar. Prelude in C Major ( Be. Ci Prin om. 3.6. Bach men 2 ©? 00200 20? 00:00 peo 09800 1@ 200700 10700700 20700700 20700200 30200700 20700700 70>00:00 +0?00700 +@?00:0020200700 7@2 00200 *@?00:00 Fin faim asa a uv 10200700 10700700 10200700 cra Or 7 vy U 1®?00700 102700200 10200200 EWinG ce — Gras Uv 10200700 '®? 00:00 10200700 a7 7 Fe vy 10200200 702 00>00 TO. +OOO+O+ re wes a 70?0000000701+5: 70200IX.CONCLUSION I've just presented to you some of the newest and most up to date ideas and techniques using two hand tapping, Digest this information, set yourself some goals and shoot for the stors. Keep the dream alive! Dave Celentano For a free catalog of all Dave Celentano’s book and tapes write to: Flying Fingers Productions P.O. Box 1994 Arcadia, CA 91077-1994