ROB
STATHAM
TAPPING? PROFESSOR
STATHAM 'S GOT MORE
TAPS GOING ON THAN
FRED ASTAIRE
I
t's been a little while since
we last looked at tapping
techniques, so I thought
I'd suggest some more
techniques we can employ
in this style in order to
enhance our repertoire of ideas.
Somewhat like the slap style,
tapping technique has evolved
to include many subtle nuances
and variations of the basic
concept that can open up more
possibilities for us to consider.
One useful nuance to consider
is the notion of sliding taps. Put
simply, this is where we tap a
note with our plucking hand and
then slide to another note, thus
allowing for two consecutive
tapped tones with one finger,
played as a slur. This can be very
useful to change the emphasis of
a line, moving from, for instance,
the tapped note as the last of
a grouping, to the tapped note
becoming the first of a grouping.
Example 1
illustrates this with
an idea using 8th-note triplets,
a turnaround figure based on a
I-VI-II-V pattern. Notice that on
the first chord the tapped tone
is the last of each triplet group,
EXERC
ISE
1
F
D7
Gm
C7
3
3
3
3
e ©
+
e ©
+
© Ф
+
Ф ©
3
3
3
3
Ф Ф
+
Ф
Ф
+
Ф Ф
+
Ф ©
4
EXERC
ISE
2
EXERC
ISE
3
EXERC
ISE
4
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