Exercise #3

While combining to the tapping a simple hammer-on results, as we saw in the previous page. Do the exact opposite, therefore using a pull-off after the tapping, which is a bit more complicated. This will be done in the third exercise, always working on the minor triads used in the second exercise, therefore putting the notes in descending order from the highest to the lowest. For example, on the first string we will always have the triad of Am played with the sequence of E (in tapping), C, and A notes combined with a pull-off.

Also in this case repeat the triadic form just seen on all the strings, keeping a precise rhythm for the octave triplets. Pay attention to the fact that all the notes, both tapping and ligature, have the same volume and the same dynamics.

Exercise #4

The coordination of the movements of the hands is fundamental for a good musical execution. Every exercise that we face will also correspond to a technically evovled version, which requires the use of new information to be transmited to the hands and the fingers. One of the biggest difficulties in performing an exercise is actually the right - left hand coordination.
We will now insert another note that is always part of the triad, which creates an extra movement for the left hand. Using the first string as an example, a series of four notes is formed: E in tapping (left hand, obviously), A hammer-on C pull-off A. We can define a pattern that is repeated on all the strings. I recommend that you practice on only one string before playing the entire exercise. The part to be played is therefore the following.

In the part below, the sequence of every pattern always proposes the note at the twelfth fret in tapping that descends to the octave, then to the fifth in pull-off, and returns in hammer-on to the octave.

Exercise #5

After seeing how to move the fingers of the left hand, we now see how the fingers of the right hand will move in tapping. We begin with a simple triplet that always form a triad (in melodic sense, naturally), whose low notes are always played (A and C in the example). The high note will change in tapping, that with the other two notes forms a different chord every time the finger moves on the fretboard. Always alternate the index and middle fingers of the right hand.

The same sequence as the previous example regarding the right hand, while the notes for the left hand are different. Both examples can be transported on every string, using the metronome once you have learned the technique.

Exercise #6

In the next two examples you must move the left hand horizontally on the fretboard, holding the right hand steady over the twelfth fret. Try to perfectly connect the notes during the movements.

Pay attention to the descending ligatures and the run-time.

Exercise #7

At this point we should try to move both the hands, creating a musical phrase that is played on a single string. Once you have memorized the phrase, as usual, transport it to the other strings.

Now a slight difference in the movement of the right hand with respect to the above example.

All the exercises seen up to this point should have given you the basic knowledge in learning the fundamental technique for tapping, as well as good coordination of the two hands. For those who actually began here the study of tapping, I suggestion that you practice these exercises for a few days, as the following pages will be more and more complex and therefore you need to be well prepared to face them.

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