MARCOS MENA

COMPOSITIONAL
GUITAR
TAPPING:
A WORKBOOK

Illustrations by
Hannah Saidiner
INTRODUCTION
Eddie Van Halen blew the world away in 1978 when he performed Eruption, now considered
one of the greatest guitar solos of all time. At the time, fans might not have been able to
recognize the technique he employed. Maybe he didn’t want them to. In previous
performances, he performed with his back to the audience so no one could see what he was
doing. Now, of course, we know. He was tapping -- using a percussive technique in which
fingers strike the frets without the plucking that characterizes most guitar playing.

Tapping creates a sound that is different in timbre from a pick or strum. Van Halen became
known as a master tapper and is even credited with inventing the technique. But’s it’s
actually been around for
decades. It’s a method that
liberates the guitarist from
merely fretting and strumming
as is done in classical, jazz and
contemporary music.

Tapping allows the guitarist to

create his or her own
orchestra. The guitarist plays
the guitar almost as if it were a
piano. The technique has yet to
be fully explored with lots of
room for creative application. It
can be used to play phrases
faster, with more smoothness

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or legato. It becomes an appendage of
your music.

Guitar tapping has always existed since the

electric guitar rose to prominence in the
early 20th century. Although prominent
tappers like Eddie Van Halen and Stanley
Jordan became popular in the 1980s, the
technique saw its initial mainstream
success earlier. Tapping guitarist Jimmie
Webb released his album “Webster Un-
abridged” on mainstream label RCA
records in the 1950s. In the 1960s, guitarist
Dave Bunker was so moved by the
technique that he created his own
instrument which allowed for one to play a
bass and guitar simultaneously. He debuted
it live on Jubilee U.S,A, an Ozark mountains-based country music television program.

In the early 1970s, jazz guitarist Emmett

Chapman created an instrument intended
solely for tapping named the Chapman
Stick. With this instrument, guitarists could
tap with the “free hands” technique devised
by Chapman in which the fretboard is
vertical instead of horizontal. This invention
spawned an entire movement of tapping
players, who played instruments that fell
under the category of what is known as
“touch guitar”. These instruments include
Chapman Sticks (also simply known as
“stick”) Warr Guitars, the TrebleBass and

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many more. Van Halen made two handed tapping a staple in virtuosic guitar style. His work
inspired guitarists like Jennifer Batten, who created her own rendition of Flight of the
Bumblebee using the two handed tapping technique. Most famous for creating
compositions with the technique was Stanley Jordan, who created in the mid 1980s famous
renditions of famous songs like Eleanor Rigby and Stairway To Heaven, sometimes using
multiple guitars to perform. Other notables from before the 21st century include Enver
Izmaylov, who tapped European ethnic music, and the American guitarist T.J Helmerich.

Recently, guitarists like Adam Fulara, Felix Martin, Jon Gomm, Andy McKee and Yvette
Young have brought tapping compositionally back into the guitar realm again, some
creating pieces that are composed almost entirely using the technique.

Many tapping guitarists have videos on the internet that have gone viral, captivating many
interested listeners in their unique style of playing and inspiring even more people to learn
the technique.

I decided to create a workbook for six string guitarists to learn polyphonic two-handed
tapping because I couldn’t find enough resources on my own when I was interested in
learning. I also wasn’t really interested in buying and learning Chapman Stick as I had been
playing guitar for many years.

I wanted to create two independently tapped voices on my guitar, my own personal

orchestra that I could stylize and tailor to my musical taste. This book shares my method on
playing two-handed tapped compositions on six string guitar.

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BEFORE YOU START
Before diving into the workbook, I recommend:

• Setting the action on your guitar very low. This means the distance between the
fret and strings is almost non-existent. You want to be able to use almost no force
when tapping to be able to create sound on the instrument. This will prevent
stress and injury on your hands. Lower action will grant an easier time learning the
technique. Make sure not to set the action too low as this will incur buzzing and a
lack of tone. Find what feels most comfortable to you.

• Working through the book at your own pace. Make sure to fully understand and
be able to perform each section before moving on. Each chapter builds upon the
last, so make sure you are capable of doing what is suggested.

• Playing slowly with a metronome.

• Encouraging direct signal from the electric guitar to an amp. Many tap/touch
guitarists will use a compression pedal to smooth out their tapping. I discourage
the use of a compressor while working through this book. A heavy amount of
compression may cover up dynamic differences and articulation. Work on getting
the sound you want out of a clean amp first, then add effects later.

NOTE: The piece and transcriptions featured in this workbook are my own work or
are from the public domain as to avoid copyright issues. Although many of the
public domain pieces are old, they are still good exercises for mastering two-
handed tapping.

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Notation Guide
All notation in this workbook is labeled with fingerings. Using the fingering
guide below, you can match each note with its respective finger. Pay
attention to the labeled fingerings

Fretting hand for Strumming hand

right-handed for right-handed
players players

Strumming hand Fretting hand for

for left-handed left-handed
players players

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FRETTING HAND
Section 1

Before we begin to use both hands on the fretboard simultaneously, we

must prepare each hand separately for the work ahead. The easiest one to
begin working on is the fretting hand, or opposite dominant hand.

If you are right-handed this is your left, and if you are left-handed, this is
your right.

When interpreting piano arrangements, I use this hand to read the bass
line. This is also the hand that I will pay less attention to when playing as it
is usually performing an ostinato or repeated rhythmic pattern.

Maple Leaf Rag by Scott Joplin. This piece exhibits an ostinato in the bottom line.

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 We have to prepare the fretting hand to tap confidently.

Here’s how to practice:

• Use only your fretting hand.
• Tap this exercise at a slow tempo, working on control of dynamics

Exercise 1-A

This first exercise is a G major scale, played only with the fretting hand.

Here is a linear pattern on the fretboard:

• Use only your fretting hand, like in the last exercise.

• Make sure all notes are even and consistent in volume.

Exercise 1-B

Try doing this exercise in both legato and staccato styles

(connected and unconnected, or long and short.)

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 MUTING
WRAP OR NOT?
While tapping, you may find that other
strings will ring after you have played them. Many guitarists who tap semi-
Two-handed tapping on the electric guitar frequently or more seriously own
is flawed because of this and strings will a fret wrap. This is a cloth device
ring when you don’t want them to. I that wraps around
recommend working on muting the neck and acts as
strings while playing warmups. a constant mute for
Muting will become second nature if your strings. I do not
you consciously think about it while use one of these
playing the provided exercises You because I want to
can start by taking your index finger always have
and barring it lightly on as many complete control
strings as possible while not using it over my sound. The
to tap. If you can master alternating downside of using a
which fingers are muting and which fret wrap is just that,
ones are fretting/tapping, you will produce it is automatic. It will always
a cleaner sound that is more akin to a piano dampen your strings and on a six
and less like a guitar. Also, make sure to string guitar I feel that the
approach the fretboard with curled fingers. resonances that are at play are
Not only is this good technique in other manageable. However, many
styles of playing, but it will ensure you do seven and eight string guitars, as
not accidentally touch other strings while well as twelve and sixteen string
tapping. Make sure you are only producing Chapman sticks have resonances
sound from the string you are playing and that are more difficult to control
not unintentionally bumping into other with hands alone because of the
strings. abundance of lower tuned
strings.

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 Now let’s try this ostinato exercise:

• Use only your fretting hand.

• Make sure your rhythm is steady. Keep all notes lined up perfectly
with a metronome

Exercise 1-C

This is just the left-handed part from Mozart’s Piano Sonata No. 16

Here is an exercise with a ragtime rhythm:

• Use only your fretting hand.

• Make sure your rhythm is steady. Keep all notes lined up
perfectly with a metronome

Exercise 1-D

This is an excerpt from Top Liner Rag by Joseph Lamb

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Chord Voicings
For The Fretting Hand

Because we are limited to the amount of strings the rhythm hand can use, we
are also limited in what chords we have. Here are a few examples of limited
chord voicings, or shell voicings. These chord shapes will illustrate the chord
you are trying to play in the fewest notes possible. This usually means including
the root, 3rd and 7th.

These are just a few examples of shell voicings. I highly encourage you to
explore more chords on your own and really familiarize yourself with the
minimalism of 6-5-4 string chord combos.

This will become more useful later. When transcribing music you may
want to play with this style as well as a bridge to building larger
polychords on all six strings if you so desire.

The remainder of the book is light on harmonic content, but all information
on building chords is available on the internet and in several other
workbooks. Get creative and try and create your own chords!

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Other Exercises
For The Fretting Hand

Finger independence is worth

working on for all guitarists
regardless of their interests.
Here are a few exercises to
help develop that.

Exercise 1

Place your hand in the middle of the

fretboard. Finger frets 5,6,7 and 8 at the
same time on the 4th string. Make sure
your index finger is fretting the 5th fret,
middle finger fretting the 6th fret and so
on so that they are sequential.
Now, carefully lift up your index finger and
touch the 5th fret on the 6th string and
then the 1st string without moving your
other fingers.
Then do this with each finger, touching
the 6th and 1st strings. The goal is to
move each finger independently without
moving the others.

Go slowly and then try it faster and faster

to a metronome.

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Exercise 2
Similar to the exercise on the previous
page, finger frets 5, 6, 7 and 8 of the 6th
string in the same linear style.
However in this exercise, we will be
moving different combinations of fingers to
the next string while keeping the
remaining fingers on the previous string.
For example, while fingers middle ring and
pinky stay on the 6th string, move your
index to the 5th string. Then bring the
other fingers to the 5th string
and repeat until you get to the 1st string.
Then try different combinations of this.
Different combinations will prove more
difficult while others will be easier. The
most challenging one for me includes the
middle and ring finger moving with the
index and pinky following.

Combinations To Try

-middle + pinky first, index + ring following

-index + ring first, middle + pinky following
-index + pinky first, middle + ring following

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 Exercise 3
I was lucky enough to be able to borrow this exercise from world renowned guitarist and
personal mentor Miroslav Tadic. The idea of this exercise is to work on switching from the
two chords that are paired together. Although the chords are essentially harmonic non-
sense, they are reflective in their fingerings. Try to switch from one shape to the other,
slowly at first and gradually faster. Attempt all 12 in different positions on the fretboard with
different string groupings for maximum finger independence.

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 BEFORE YOU PROCEED

Make sure you have:

•Consistent finger strength and dynamics

•Moderate dexterity in all 4 fingers.

• Understanding of chord voicing on strings 6, 5 and 4

Take some time to look into various rhythmic feels

and try to master them with one hand. The idea is to
make the rhythmic hand feel as full and lively as
possible.
This creates a real sense of independent parts and
harmony.

Usually, the opposite dominant hand is the least

bothersome hand while doing on two-handed
tapping. It’s best not to rush through working on it
though.
It’s best to ensure that before you move to the next
section you master this hand.

15
STRUMMING HAND
Section 2

Now that we have a stronger rhythm hand, we will turn our focus to the
melody hand. This is the dominant hand: right if you are right-handed and
left if you are left-handed. In two-handed tapping style, the dominant
hand has better access to the higher frets than the rhythm hand does.
However, it can be difficult to take advantage of this as dexterity in the
hand is harder to build if you are have little experience playing with it.

Beginning to play with this hand can seem daunting. The first step to
tapping with the dominant hand fluently is to gradually increase dexterity.
I recommend doing this exercise at least 10-20 minutes a day. Start slowly
and make sure you are using correct fingering. Never play it without a
metronome or your hand will become very sloppy.

Here is another scale based exercise:

• Use only your strumming hand.

• Make sure the notes are all equally powerful. This
might be difficult depending on which fingers you are
more accustomed to tapping with.

Exercise 2-A

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 Another exercise is this chromatic exercise, similar to the one used on the
left hand.

Exercise 2-B

Consider this exercise to be among the more important ones. Getting

dynamic smoothness in the strumming hand will allow for more graceful
lead lines and better cohesion of the technique.

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 Posture
For The Strumming Hand

Where your dominant (strumming) hand should go while tapping has no

precedent. However, I prefer to anchor my thumb on the back of the neck for
stability and comfort. However, I sometimes lift my thumb up to move my
hand more freely. The true answer to positioning your hand lies in what you
are playing. Look for anchors on the back of the neck when you can as they
increase the level of articulation and clarity in your playing. Adjust strap
height to taste, but I recommend not setting it too low.

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Finger Strength
For The Strumming Hand

Our hands are flawed tools for playing the guitar. Human hands have
fingers with different sizes that have strange natural tendencies that
interfere with guitar playing efficiently.

Acknowledging this and spending time in your practice routine to

counter these facts is important.

Our pinkies are very weak compared to our other fingers. One of the
trickiest fingers to mobilize is the dominant hand pinky. If you are
struggling to use it, try a few of these exercises.

Included are a few pinky exercises, as well as an all around finger

strengthener.
In the bottom exercise, the idea is to try to tap any chord you wish an
octave up only using one finger.

This finger can be anyone you choose. I recommend using ones you
know are weaker to build strength.

intervals
intervals

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Familiarity
While trying to get better at playing with
the dominant hand, think of things you
would usually do with your fretting hand
and instead try to do them with your
dominant hand.

For example, try practicing improvising with

your dominant hand instead of your fretting
hand. Or learn that something you’ve been
practicing with your fretting hand with your
strumming hand instead. The goal is to make
both hands equal in familiarity.

If you can do with your dominant

hand what you can do with your
fretting hand, mastering two handed
tapping will become much easier.

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Chord Voicings
For The Strumming Hand

Using chord shapes that you would usually use with your fretting
hand become trickier to fret with your dominant hand.

This is because we are approaching the fretboard “upside down”.

Here are some alternative shapes to conventional guitar chords.

Intervallic combinations
Here are some combinations of intervals that are easier to play with
the dominant hand.

These are just a few shapes, I encourage you to try and find you
own. The trick is to utilize barre shapes with your index finger as they
require less fretting.

If you try, you will find that some shapes you use with your fretting
hand become impossible to play with your strumming hand. Attempt
to re-harmonize those chords and create alternative solutions.

Everybody has different hands and dexterity which is why I am

positing that figuring this bit out yourself is better.

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 Intervallic Combinations
For The Strumming Hand

When using the strumming hand to play what the fretting hand normally plays, we
must augment our technique to yield results. Here are a few intervallic combos with
fingerings to help expand your melodic and harmonic potential with two-handed
tapping. Using these as reference, try other combinations of intervals you like or
want to play.

Major 3rds

Perfect 5ths

Major 7ths

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 Arpeggios
For The Strumming Hand
When using the strumming hand to play what the fretting hand normally plays, we
must augment our technique to yield results. Here are a few arpeggios with
fingerings to achieve arpeggiated lead lines with the strumming hand To really play
these right, roll your fingers over each other. These are just a few arpeggios, using
these as examples continue to learn and work on other arpeggios.

F Major Arpeggio

F Minor Arpeggio

F Dominant 7 Arpeggio

F Major 7 Arpeggio
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 BEFORE YOU PROCEED

Make sure you have:

•Consistent finger strength and dynamics

•Moderate dexterity in all 4 fingers.

• Understanding of chord voicings on strings 3, 2 and 1

Take some time to look into various lead lines and

try to master them with one hand. The idea is to
make the lead hand feel as smooth and songlike as
possible.
This creates a real sense of independent parts and
melody.

Usually, the opposite dominant hand is the least

bothersome hand while doing on two-handed
tapping. It’s best not to rush through working on it
though.
It’s best to ensure that before you move to the next
section you master this hand.

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BOTH HANDS
Section 3

Now that you have worked on each hand individually, we can combine
the two to start tapping compositionally.

One of the most important exercises I have used to better my tapping is

notated below. This is a combination of chromatic exercises from the two
previous sections and not only focuses on finger strength but also
coordination between both hands.

Exercise 3-A

Mastering this exercise is essential to tapping two voices coherently.

Start slowly and work up your speed.

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Exercise 3-B

With two hands now operating simultaneously, we can play two scales
at once.

Above I’ve notated an F major scale in the strumming hand and a D

minor scale in the fretting hand. Playing these both at once may be tricky
first, but is very rewarding and beautiful.

When mastered, try your own combinations of scales. Or try playing the
same scale in different octaves. Also try playing one hand at a quiet
dynamic level and the other at a much louder dynamic. This not only
reinforces hand independence (which we are striving to achieve) but will
allow for greater control over your tapping.

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 Polyrhythms
For Both Hands

Now that we have dexterity to tap in both hands, let’s try some polyrhythms.
Polyrhythms are two separate rhythmic speeds that fit into the same space.
Below is what is called a 3:2 polyrhythm. For melodic content, we have a B minor scale.
One hand is playing the scale at triplet eighth note speed and the other is playing the
scale at eighth note speed. The exercise is not fully notated as the cycle of the two
speeds is never-ending.
Use your fretting hand to tap the bottom part and your strumming hand to tap the top
part. Go slowly to really nail the duality of the polyrhythm.

Let’s also try this 3:4 polyrhythm. Try learning other polyrhythms as well, not
just these two examples. Getting this idea of playing two rhythms
simultaneously is key to mastering two-handed compositional tapping

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Duality
Tapping with both hands is tricky. When attempting to tap both parts, I am
constantly switching my focus between either hand. The real secret is to
completely master one part on one hand so that you can do it
subconsciously - that is without thinking about it - and then focus on playing
the other part. There is also the art of the ostinato, a repeated rhythm that
makes it easier to tap two separate voices.

Notice the ostinato in this excerpt of Chopin’s “Prelude in E Minor”.

Let’s try learning this excerpt as an exercise in duality. First learn the
ostinato part bottom part, then add the top part and focus on that.

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 Hand Independence
For Both Hands

Duality can be better worked on with some hand independence exercises. One
exercise that has really stuck with me is the round (or canon) exercise. A true round is
when 3 or more voices sing the same melody but start at different times, creating
unique harmony. When applied to two-handed tapping, the result is a challenging
exercise. Below is the nursery rhyme “Mary Had A Little Lamb”, but if you notice the
melody starts on measure 1 in the strumming hand and again on the fretting hand in
measure 2. Try to play this simple tune but in this style. If you are able to do this, try
other nursery rhymes for better mastery.

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 Counterpoint
Now that both hands are accessible, the idea of counterpoint is more readily
apparent. Counterpoint is the idea of writing two separate melodies that coexist
with a set of rules in mind. With two independent hands, we can play two
independent parts. Counterpoint was most used in European classical music,
specifically in the Baroque era. One of the masters of counterpoint was Johann
Sebastian Bach, who freely used counterpoint to create intricate passages of
music.

Notice the intertwining parts in this excerpt of Bach’s “Invention #1 in C Major”.

Try learning some counterpoint with this excerpt of Bach’s “Invention #1”

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 Syncopation
For Both Hands

Syncing both hands is a small victory, as many compositions feature syncopation

and varying rhythm.

Syncopation is the act of playing with expected rhythms. The top line of The
Entertainer sounds before the bottom line giving each their own independent
rhythm. Syncopation gives pieces life and makes music more interesting.

Therefore, it is important to master the concept.

Notice the different rhythms between both parts.

Let’s try this introductory section of The Entertainer featuring a syncopated lead
part:

When working with syncopation, set your metronome to sound more beats per
bar instead of the usual 4 per bar, then work on lining up both hands. If we set the
metronome to quarter notes, it will be harder at first to discern the syncopation in
“The Entertainer”. Instead, set the metronome to sixteenth notes and play the
passage at a very slow tempo in order to conquer the syncopation.

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 Dynamics
I have yet to really write on the subject of dynamics when tapping,
Dynamics are an integral part of music and should also be an important
part of tapping progress. Tapping with a wider range of dynamics will
increase a composition’s ability to make an impression on the listener.
The issue that many tapping guitarists face is that tapping inherently
has a reduced dynamic range. To combat this, let’s try some exercises.

Exercise 1

Figure out your range. Practice tapping things very hard, then try tapping
them as quietly as you can. Become more comfortable with dynamics and
try to expand this range by increasing or decreasing your attack and
strength.

Exercise 2

Try controlling your dynamics by starting a piece of music the absolute

loudest and then going to absolute quiet, and vice-versa. This will be very
challenging and will require a lot of control, but will result in massive
improvement of dynamic awareness.

Exercise 3

Try this excerpt of Bach’s Invention #6, but try to play one hand quietly and
the other hand loudly. Then try swapping dynamic roles.

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 BEFORE YOU PROCEED

Make sure you have:

•Consistent finger strength and dynamics

•Moderate dexterity in all 8 fingers.

• Understanding of chord voicings on strings 3, 2 and 1

You have taken some time to learn various two-

handed excerpts presented in the workbook or
have figured out portions of music on your own. In
either case, this will prepare you for the
transcriptions I have prepared, available in tablature
or standard notation.

Note: These are simply three pieces that I enjoyed

learning thoroughly. If you wish you learn a piece,
contemporary or otherwise, you now have the
dexterity in your fingers to read piano music or
transcribe a vocal and rhythm line for two-handed
tapped guitar.

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Transcriptions
The remainder of the workbook is devoted to
transcriptions of pieces I credit in helping me learn the
two-handed tapping technique.

They are piano, guitar and lute pieces arranged for two-
handed tapped guitar. If they do not interest you, I
encourage you to transcribe songs or pieces that you like
into the compositional tapping style.

One way to do this is read piano sheet music as if it were

for guitar. Play the bottom part with your fretting hand
and top part with your strumming hand. Make octave
adjustments based on positioning and minimize chords
that cannot be play on the six strings available to you.

Another is to transcribe a vocal or lead line to your

strumming hand and play the chords or an
accompaniment line with your fretting hand. Most
contemporary music can be played this way.

However, I encourage you to try learning the included

compositions as they are full of passages that will get you
closer to tapping mastery.

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Bourrée in E minor
About the piece:

Bourrée in E minor is a popular piece written by Johann

Sebastian Bach originally intended for lute. Classical
guitarists have adapted the piece and it is now standard
guitar repertoire.

A bourrée is an upbeat type of dance from France and

although the piece is not a bourrée, it incorporates
elements of the dance.

The piece focuses heavily on synchronization of both

hands, usually sharing similar rhythms. The strumming
hand pinky makes many appearances in the piece, so be
sure to bring out the notes tapped by the weaker pinky.

Included are fingerings for both hands. Reference performances of

the piece when in doubt.

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36
37
38
KVK.545 Piano Sonata #16
About the piece:

The Piano Sonata #16 is a three-movement piano piece

by Wolfgang Amadeus Mozart.

The excerpt provided is the first half of the first

movement, set at a faster tempo. Mozart described the
work as a piece for beginners.

However, when transcribed for guitar, this piece is for

anyone but beginners. Consisting of several quick piano
runs and riffs on both hands, the piece will prove to be an
ample challenge for any two-handed tapping guitarist.

Included are fingerings for both hands. Reference performances of

the piece when in doubt.

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40
41
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Invention #8 in F Major
About the piece:

Invention #8 is part of a series of compositions by famous

18th century composer Johann Sebastian Bach. The
series is a collection of keyboard compositions which
heavily feature counterpoint. They were written as
exercises for his students as a way to master the piano.
There are 15 inventions, all with varying tempos and keys.

The eighth invention is usually played fairly quickly, with

lots of sixteenth note runs that will occur in either hand
and sometimes simultaneously.

Work very slowly. This invention is very dense and takes

awhile to learn and even longer to master. However, it is
very beautiful and a real treat to play.

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Conclusion
My hope with this workbook is to empower the guitar
community with more literature on tapping. Although
tapping is only one technique, one form of expression
amongst many, it is one I feel deeply aligned with. My
wish is that anyone who has read this workbook gains a
greater understanding of using guitar tapping in a
compositional setting.

My other hope is to encourage creativity. With the

techniques provided, I encourage creative guitar
compositions that are true embodiments of yourself. With
guitar tapping, the possibilities remain endless. Stick to
your musical vision and create something amazing.

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Special Thanks
Hannah Saidiner

Jennifer Delson

Adam Fulara

Felix Martin

Miroslav Tadic

Thomas Leeb

Jacob Richards

Francisco Garcia

Matt Bailey

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