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One of the biggest criticisms that traditional musicians have with the two-handed tapping technique is that it is mostly a physical technique, based mainly on geometric patterns. Unfortunately, this criticism holds true for many bass players. You don't believe me? Well, try taking your favorite tapping lick and playing it in all 12 keys. Still don't believe me? Ok, how about tapping a solo over the chord changes in "Autumn Leaves?" Now, there may be a contingent of you who can do all of the things that I asked, but I am willing to bet that most of you are not able to freely improvise with your two-hand tapping technique.
The ability to improvise with any technique comes from having a foundational knowledge of harmony and theory, and by finding ways to practice said technique within a theoretical context. Simply put, you should be able to utilize the technique instantly over any musical situation.
To get you started on this musical journey I am passing on a tapping lesson that bass guru Stuart Hamm gave me once. It helps you to become aware of harmony while you are tapping a simple pattern. The lesson deals with major and minor triads, and gives you really easy patterns to memorize and move around to different keys. (Transcription note: The tap notes that are circled are to be played with the right hand.)
Here are the patterns for both major and minor triads, with the written examples being E major and E minor. Notice that the only difference between the two chords is the third. E major has a G# and E minor has a G natural. (See, you are learning more about theory already!)
As always, start playing these patterns very slowly, making sure that each note is loud and sustains. Only after you can consistently play through the pattern should you increase your tempos. When this becomes easier to execute, try moving the chord shapes to other roots.
Your ultimate goal for this exercise is to be able to smoothly tap these sequences over any progression of major and minor chords. Try tapping the patterns over a 12-bar blues. From there, move on to more complex progression. Also, for extra credit, come up with your own fingering for tapping over diminished, augmented and suspended chords.
After you have mastered this lesson, do not stop trying to develop you improvisational tapping skills. Tap through all the scales you know, and then learn more scales! Get a transcription of your favorite be-bop solo and try to find a way to tap it. Then, when you can do that, try tapping it in all 12 keys. It is a lot of fun, and it will improve your musicianship in many areas.
Good luck and have fun!
As always, feel free to email me with your questions! Until next time... Stay Tuned!
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