YTC Daniele Gottardo ULTIMATE TAPPING TRAE MASTERCLASS TAPPI NG INTRODUCTION Hi, everybody! Thank you for your intorest in this masterciass. 'm oxcited to snare with you one fof my fevourite guitar techniques, two-handed tapping. When I frst started on guitar, my nero ‘was Ace Fretley, and nothing existed outside his musical vocabulary as fer as | was concerned, Itwas my subsequent discovery of Dave Celentano tht vas @ gateway to new approaches con the instrument. That musical expansion started a lifelong journey that has led me to new, exciting places, and helped me continue to develop my own sound. My hope is it may help you in simile ways BRIEF HISTORY Tapping originated with guitar players lke Vittorio Camardese in the 1960s, and Emmett Chapman and Steve Hackett in the 1970s. But it was in the late 70s and early 80s thet this technique bocame famous, thanks to the popularity of Edward Van Halon. During the 80s and 90s, an increasing number of rock and metal guitar players started to incorporate tapping Into their vocabulary, extending the technique to the full use of the right hand. Pioneers Include Jennifer Batten, TJ Heimerich, Steve Lynch, Dave Celentano, and Stanley Jordan. The technique has continued to grow both in number and ability of players as well as in variety of genres. It is no mere virtuosic novelty. Rather, its musical and creative purposes are wide and varied, WWW.JAMTRACKCENTRALCOMWTC —, WHY USE TAPPING? Tapping is @ technique that can extend your sound and timbre paletto. It allows you to realise 185 that would be counterintuitive, ifnat impossible, to play with traditional approaches. Moreover, it's a technique tnat naturally excites the imagination and creativity, allowing you develop your unique voice on the instrument. THE TAPPING MASTERCLASS In this masterclass, we will focus on single-note horizontal tapping, mainly used for lead g and melodic solos. We still start with the rudimentary movements, and progress to more cifficult combinations. Basic one-finger tapping won't be discussed here, as It's a topic that has long been established Four-note-per-string (4ngs) arpeggios and scele sequences will be discussed, as well as ‘examples using 5 and 6nps. String skipping, bending techniques, end combinations of ‘traditional picking with multiinger tapping wil also be covered. Finally, we wil study three cifferent solos, all of which provide examples of haw to incorporate these techniques into a musical context. RIGHT-HAND FINGER PATTERNS* In this masterciass, right hand (RH) fingers are Indicated as follows: 1= index finger 2 = middle finger 3= ring finger 4= Ittle finger ‘The four fingers will be combined in different, useful patterns, following a logical progression from tho easiast to the most difficult combinations: [- Apologies to left-handed players. I've used right-handed terms here to keep things simple, as can sometimes be confusing o use terms like “fretboard hand” end “picking hana”. If you're left-handed, just rememper to reverse everything!) WWW/JANTRACKCENTRAL.COMWJTC UTAAT TPG ASTEROASS RIGHT-HAND POSITION ‘The RH position is a fundamental aspect of this technique. 4. Uso a similar position as the loft-hand (LH), but in a mirror image. 2. Rest your thuma on the neck, far balance, support, and control 3. The angle of the RH is very important. With the corract angle, you will be able to soe alll of your RH fingers. | suggest starting with an angle of approximately 30 to 45 degraes, WW/WJAMTRACKCENTRAL.COM