Arpeggios
(05 Jan 05)
Tapping Arpeggios - Page 2
Now, it's time to check some other cool tapping arpeggio patterns. This one was used very often by the great Nuno Bettencourt. It depicts a seamless, flowing Maj add 9 arpeggio. It also contains a part where you have to skip the G string. This one also has a few hammer-ons from nowhere, so be sure to be ready to tackle them. Note that each single string pattern looks like the ones we checked in the first part of the section of the article: Three notes on each string, and the first note is always tapped.
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Using this same tapping principle, we can create some other arpeggio patterns. Here I'll show you the patterns for a 7th, 7th add4, min add9 and min7. Be sure to come with your own arpeggio shapes!! Just arrange the notes of the tapping hand and do some modifications to the left hand. Be sure to keep the string-skipping part.
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For all of you who love Michael Romeo's tapping madness, here are some tapping arpeggio patterns that he uses very often. They're quite hard to master, since you have to skip strings a lot, not to mention the hammer-ons from nowhere in each string. Practice those really slowly, and track your progress with a metronome. Notice that in the ascending part of the lick, you have to hammer-on from nowhere in each first note of each string.
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With this last pattern, you can also come with your own chord/arpeggio ideas. See that I just created 4 different chords: maj7, min7, min(maj7) and dim7. Just arrange the notes to suit the notes of the chord you wanna hit. Other possibilities can be a +maj7 (R, 3, #5, 7) and so on!! The limit is up to you!!
Now, I'll show you something that I came up a while ago. I was goofin' with hands on fretboard and after a lil' of thought process, I realized that I could play a different type of tapping arpeggio. For this one, we have to tap with our index and middle fingers. Also, the middle finger has to do some pull-offs, so be sure to practice with the right hand alone on the fretboard. Also, we'll use some hammer-ons from nowhere to nail some of the note, as well as string-skipping.
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All notes in this example are tapped with both right and left hands. Actually, I consider a hammer-on from nowhere as a left-hand tap. In the example given the F#'s and the G's on the D and the B string are tapped with the index and middle right hand fingers. Notice that in the descending part on the lick, you have to "invert" the process, as you must tap the G with the middle and pull off your index to sound the F# (The index finger should be on position to play the F# as the middle finger pulls off of the string.). With this pattern, you can also try and find different chord sounds. I've added the Maj7 and 7 chordal sounds. I'll let you figure out the others. Remember to practice slowly and accurately!! Pay special attention to the right hand taps, as well as the pull offs in the right hand fingers.
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