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Two Hand Tapping for the Introduction to "Git Along Little Dogies" by Steve Eckels  |
Two Hand Tapping for the Introduction to "Git Along Little Dogies" by Steve Eckels Two Hand Tapping for the Introduction to "Git Along Little Dogies" Greetings kind readers. This is my first article written for you from my new home in Kalispell, Montana. I moved here recently to take the position of guitar instructor for the local High School. It has been exciting for me to learn that guitar is becoming more and more accepted in mainstream music education. As one of the benefits of being a school teacher, I was able to attend a lecture by a motivational speaker during our recent in service day. One of the many interesting points that the speaker made was that "there is more than one way to solve a problem." This of course also applies to guitar, where there is more than one way to perform a specific technique. The technique that I am going to share with you today is one way of performing two-hand tapping. My discussion can be applied to the introduction of my arrangement of the traditional cowboy song "Git Along Little Dogies." I have found that the color and added percussive quality of tapping creates a very nice contrast to traditional picking. In this song I use tapping to emulate the rhythm of a horse walking down the old dusty trail. The way that I have arrived at tapping technique is to apply the same basic principles of energy and motion that I use in traditional technique. Since Dogies is in the key of A, I will use this key for my example. We will start with the right hand and then proceed to the left. First, I have decided that two fingers gives me more power, with less energy expended, than using only one finger. So I place my middle finger behind my index finger. I rest my thumb on the top side of the neck for stability, and am careful that my elbow does not unintentionally mute the strings. For our first try, aim for the A on the fifth fret of the sixth string. As with a hammer on, I use a trigger like action of the fingers to give the attack some speed and momentum. I also like to compare this movement to a baseball pitcher's wind up. Be careful not to overdo it. There is a tendency to strike the string with more power than you really need to. We want just enough power, but not too much. Now, play the entire A major scale on the sixth string using tapping with the right hand which is indicated by TR. [example 01]  We will eventually combine both hands in a manner similar to that of the late Michael Hedges. By practicing my tapping in a scale manner, I have found that I can now improvise tapping interludes spontaneously. Next, get comfortable picking the sixth string with the index finger of your right hand located over the fretboard. Continue to use your thumb on the top side of the neck for stability [example #2].  Now combine steps number one and two to play an A major scale with pull offs to the open E string.  Now we'll move on to the left hand. The same principle of a pitcher's wind up applies here. Instead of working with one note at a time, we'll practice two notes at a time - a harmonized major chord. Observe the fingerings. I have found that using the middle and third fingers gives me better balance and weight than using fingers one and two. [example #4].  You can make up your own tapping practice patterns. First try a scale with the right hand combined with repeated notes in the left. Then have the left hand move around while the right hand stays in one place. Finally, try moving both hands around at the same time. Start simply by using two notes per hand, and then expand from there. Example #5 is the actual introduction to "Git Along Little Dogies." I hope you enjoy it. I get a lot of fun out of playing it, and usually have the audience shake their car keys to simulate the cowboy's spurs a jingling. Take care till next time. Steve Eckels E-mail: sunami@mindspring.com Web site: www.stairwell.com/roger Download this article. Download Adobe Acrobat Reader Return to the top Copyright © 2000 Mel Bay Publications, Inc.
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