Guitar tapping is a fun technique that can take your guitar playing in new directions. From blistering-fast solos to super-wide arpeggios, tapping is used in a wide range of styles and ways.
This lesson will give you a variety of tapping patterns and exercises to work on so you can develop a solid tapping technique.
2-note tapping patterns are a quick and easy way to get started learning how to tap. You only need to alternate back and forth between two notes, so these exercises are quick to learn and easy to master.
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Remember that none of the notes in these exercises are picked. Focus on keeping the string vibrating by using good tapping technique as explained in detail in this tapping lesson.
This tapping exercise simply asks you to alternate between tapping a note on the 12th fret and fretting a note on the 7th fret.
You can use any finger you want to play the 7th fret note. Keep that finger held down the entire time as there is no reason to lift it off of the string.
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Now you can focus your attention completely on your tapping technique. Aim to be as accurate as possible when tapping the 12th fret and try to give the string a little flick as you pull-off to the 7th fret.
Once you can play this exercise effortlessly without any mistakes, repeat it on the other strings. Play the same pattern on the B string, then gradually work through all six strings. Get used to how each string feels and how you need to adjust your hand position.
Extra tip: once you master this exercise, pick two different fret positions for the two notes (eg: tap the 9th fret and fret the 5th fret). Get used to playing this two-note pattern using any two positions on the fretboard.
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This exercise builds on top of exercise 1 and asks you to get used to moving your tapping finger back and forth between two positions.
With this exercise, you can either move your tapping finger back and forth between the 12th and 14th frets, or you can use two different fingers to play the two tapped notes.
Just like in exercise 1, practice this exercise across all six strings. Get used to shifting your tapping hand around the fretboard.
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It is very common for guitarists to play three notes per string, so spending some extra time working on these exercises will prepare you for a lot of tapping licks and solos.
Triplets make it easy to practice along with a metronome as you repeat each three-note pattern after every click. In these exercises, you should tap each note in time with the metronome click.
Keep your first finger from your fretting hand holding down on the 5th fret, then use your third finger to play the pull-offs from the 7th fret.
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Build up the speed gradually. If you start making mistakes or your fingers lose coordination, slow down and spend more time practicing at a comfortable tempo.
After you feel comfortable playing the above example, try moving the three notes around to different positions. You can play any three notes from a scale or try and figure out how to play an arpeggio as a tapping pattern.
If you compare this exercise with Exercise 3, you’ll see that the only difference is that the 7th fret has been replaced with an open string.
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This exercise will feel very different to play as you’ll be playing a hammer-on to the 5th fret instead of a pull-off from the last exercise. The open string will also feel different.
It is fairly common to use open strings in tapping licks. As long as you use proper tapping technique, the open string should ring out clearly.
If you have trouble getting the open string to ring out, give the string a slight flick with your tapping finger as you pull off from the tapped note.
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This exercise will test out how well you can keep the string vibrating when you tap the string. If you’re not tapping the string with accuracy, the string may not vibrate enough for the tapped note to ring out.
Once you can play this exercise, try to continue shifting down the strings all the way to the 6th string. Keep the other strings muted with your fretting hand to avoid any unwanted string noise.
Then you can try taking any of the other exercises in this lesson and try shifting them to different strings. You can even try combining different exercises across different strings for an extra challenge.
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The below exercises use 16th notes, which means that the 4-note pattern repeats at every beat. So you need to play the tapped notes with every click of the metronome.
This exercise should be quick and easy to learn if you have spent enough time practicing the 3-note tapping exercises shown above.
Keep your first finger from your fretting hand held down on the 5th fret. There is no reason to move it, so keeping it in place.
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Generally speaking, the less motion you need to do with your hand when playing guitar, the better your licks will sound and feel.
This exercise combines hammer-ons and pull-offs, so make sure that each note rings out for the exact same length of time. Beginners often find hammer-ons easier to play compared to pull-offs, so they tend to play them faster. Make sure you play everything consistently.
This exercise will give you practice in changing the tapping pattern as you move to different strings. Both hands need to adjust position when changing to the B string, so take your time getting used to the changes.
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Think carefully about how you position your tapping hand and how you will move back and forth so you can properly tap the two notes.
If you have trouble with this exercise, try taking Exercise 6 and play it back and forth across the high E and B strings. Once that feels easy, you can try this exercise again.
Tip: once you master all of the above tapping exercises, you can start combining the patterns to form 5, 6, or 7 note patterns. For example, you can combine a 3-note pattern and a 4-note pattern to get a 7-note pattern.
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When practicing your string skipping with tapping, be very careful about keeping the other strings muted and quiet. An open string accidentally ringing out can completely ruin a well-performed tapping lick.
This exercise keeps the tapping patterns the same across all of the strings so you can focus completely on your string skipping technique.
You can use any of the 3-note patterns instead of the above example if you want. The main focus should be on keeping the fretboard quiet as you jump around the strings.
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This exercise takes the string skipping pattern from Exercise 8 and uses the A Minor Pentatonic Scale to show you how you can use tapping in a descending scale run.
Once you feel comfortable playing the above exercise, try reversing the direction to turn it into an ascending scale run. Then you can practice up and down the fretboard in a continuous loop.
If you like the sound of this tapping exercise (it sounds great when played fast), I highly recommend you practice coming up with your own scale run licks.
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Learn more about the Pentatonic Scale here and practice coming up with your own tapping licks using the fretboard diagrams. You simply need to pick three notes per string from the fretboard diagram, then use the above string skipping pattern.
All of the above exercises stick to the same area of the fretboard. If you want to move up and down the fretboard during your tapping solos, there are a few ways you can do it.
The challenge with the below exercises is with shifting your tapping hand into the correct position in time for the next tapped note. Review the tips covered in this guide about positioning your tapping hand if you’re having trouble.
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This exercise shows how you can use slides to shift up and down the fretboard. Because slides are a legato technique, you don’t need to pick the string as you shift positions.
Try coming up with your own licks that slide up or down the fretboard. You don’t need to slide in each 3-note pattern, this is just an exercise to help you feel confident in sliding.
This exercise demonstrates how you can use tapping as a way of moving up and down the fretboard. As you tap a note, it gives your fretting hand time to shift up or down to a new position.
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You can see that you can easily cover a wide area of the fretboard with tapping. At any point, you could also change the position of the tapped note to move up or down the fretboard.
The above tapping example is common in neoclassical style music and are known as Pedal Point or Pedal Tone licks. The great thing about tapping is that you can take almost any Pedal Point lick and easily change it into a tapping lick.
While tapping is fun to play with repeated patterns or scale runs, they really shine when you use them with wide arpeggios.
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This exercise
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