User
Supported
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User
Supported
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Three-Note Patterns In Context, Open Position, All
Keys
Patterns Up the Neck with Open Strings
Efficiency Patterns with Three Notes
Four-Note Open Patterns Ionian
Five-note open patterns Ionian
Hammering and Tapping Conclusion
A
great way to add variety and speed to playing is by hammering down on notes
with the finger without picking, and then pulling of the notes by plucking the
notes with the left-hand finger.
First,
practice hammering and pulling on open strings. Pick the g string and then
hammer down with the second finger. The pick the string again and pull off the
string, but with enough effort so that the open note sounds afterwards.
g--o-h2-2-po-
Then
do the same on all the strings. Then practice with the other fingers.
g--o-h1-1-po-
g--o-h3-3-po-
g--o-h4-4-po-
Practice
these on all strings also.
Moveable
forms of hammering contain these patterns.
g--1-h2-2-p1-3-h4-4-p3-2-h3-3-p2-2-h4-4-p2-1-h3-3-p1-1-h4-4-p1-
Try
sliding this pattern up the fretboard also. Move this pattern to all strings,
then reverse the order.
g--4-p3-3-h4-2-p1-1-h2-3-p2-2-h3-3-p1-1-h3-4-p2-2-h4-4-p1-1-h4-
Some
patterns require finger stretches. Use the fingers in the upper row with the
frets on the lower row.
finger
3 h4 4 p3 1 h2 2 p1 1 h4 4 p1
g------3-h5-3-p7-1-h3-3-p1-1-h5-5-p1-
Also
slide these up and down the fretboard and change strings.
Alternating
hammers and pulls on the same notes over and over as fast as possible is known
as a trill.
g--o-h2-po-h2-po-h2-po-h2-po-h2-po-h2-po-h2-po-
Any
two notes can trill. Practice trills starting on the higher note or the lower
note.
g--2-po-h2-po-h2-po-h2-po-h2-po-h2-po-h2-po-h2-
Hammering more than one note
in succession leads to faster patterns since less picking is not necessary. Try
these three note hammers and pulls.
g--o-h1-h2-2-p1-po-
This document is incomplete. The notes are correct
but not yet editied for redundant notes.
g--o-h1-h3-3-p1-po-
g--o-h1-h4-4-p1-po-
g--o-h2-h3-3-p2-po-
g--o-h2-h4-4-p2-po-
g--o-h3-h4-4-p3-po-
Moveable
Three Note Patterns
g--1-h2-h3-3-p2-p1-
g--1-h2-h4-4-p2-p1-
g--1-h3-h4-4-p3-p1-
g--2-h3-h4-4-p3-p2-
Moveable
Three Note Patterns with Stretches
finger
1--2--3-3--2--1-
g------1-h3-h4-4-p3-p1-
finger
1--2--4-4--2--1-
g------1-h3-h5-5-p3-p1-
finger
1--2--4-4--2--1-
g------1-h2-h5-5-p2-p1-
finger
1--2--4-4--2--1-
g------1-h3-h6-6-p3-po-
Following
the context of scales produces the most musical results. The following are the
three-note open position patterns in the context of the modal scales.
C/Am
e--o-h1-h3-3-p1-po-
b--o-h1-h3-3-p1-po-
g--o-h2-h4-4-p2-po-
d--o-h2-h3-3-p2-po-
a--o-h2-h3-3-p2-po-
e--o-h1-h3-3-p1-po-
G/Em
e--o-h2-h3-3-p2-po-
b--o-h1-h3-3-p1-po-
g--o-h2-h4-4-p2-po-
d--o-h2-h3-3-p2-po-
a--o-h2-h3-3-p2-po-
e--o-h2-h3-3-p2-po-
D/Bm
e--o-h2-h3-3-p2-po-
b--o-h2-h3-3-p2-po-
g--o-h2-h4-4-p2-po-
d--o-h2-h3-3-p2-po-
a--o-h2-h4-4-p2-po-
e--o-h2-h3-3-p2-po-
The
A/F# Minor scale does not have an open note on the third string, as indicated
by the x.
A/F#m
e--o-h2-h4-4-p2-po-
b--o-h2-h3-3-p2-po-
g--x
d--o-h2-h3-3-p2-po-
a--o-h2-h4-4-p2-po-
e--o-h2-h4-4-p2-po-
E/C#m
e--o-h2-h4-4-p2-po-
b--o-h2-h4-4-p2-po-
g--x
d--x
a--o-h2-h4-4-p2-po-
e--o-h2-h4-4-p2-po-
B/G#m
e--o-h2-h4-4-p2-po-
b--o-h2-h4-4-p2-po-
g--x
d--x
a--x
e--o-h3-h4-4-p2-po-
F#/D#m (Gb/Ebm)
e--x
b--o-h2-h4-4-p2-po-
g--x
d--x
a--x
e--x
F/Dm
e--o-h1-h3-3-p1-po-
b--x
g--o-h2-h3-3-p2-po-
d--o-h2-h3-3-p2-po-
a--o-h1-h3-3-p1-po-
e--o-h1-h3-3-p1-po-
Bb/Gm
e--x
b--x
g--o-h2-h3-3-p2-po-
d--o-h1-h3-3-p1-po-
a--o-h1-h3-3-p1-po-
e--x
Eb/Cm
e--x
b--x
g--o-h1-h3-3-p1-po-
d--o-h1-h3-3-p1-po-
a--x
e--x
Ab/Fm
e--x
b--x
g--o-h1-h3-3-p1-po-
d--x
a--x
e--x
(C#/A# Minor has no open strings)
Adding another note to the mix adds even more possibilities.
g--o-h1-h2-h3-3-p2-p1-po-
g--o-h1-h2-h4-4-p2-p1-po-
g--o-h2-h3-h4-4-p3-p2-po-
Moveable
four note patterns
g--h1-h2-h3—h4-4-p3-p2-p1-
g--h1-h2-h3—h5-5-p3-p2-p1-
g--h1-h3-h4—h5-5-p4-p3-p1-
g--h1-h3-h4—h6-6-p4-p3-p1-
Five
note pattern open
g—o-h1-h2-h3—h4-4-p3-p2-p1-po-
Since
hammers and pulls to open strings are not limited to the open position, try
playing up the neck with hammers. These could occur at any place up the neck,
but for the sake of musicality, they are presented here using modal scales.
Where to place the notes depends on where the open string happens of the scale.
For example, in the key of G, the G string begins in the Ionian (major) mode.
Open
Note Ionian
g-o-2-4-5-7-9-11-12-14-16-17-19-
g--o-h2-2-po-o-h4-4-po-o-h5-5-po-
g--o-h7-7-po-o-h9-9-po-o-h11-11-po-o-h12-12-po-
For
other modes, the G string represents other scale degrees. In the key of F, G is
the Dorian mode.
Open
Note Dorian
g-o-2-3-5-7-9-10-12-14-15-17-19-
In
Eb, G is Phrygian
Open
Note Phrygian
g-o-1-3-5-7-8-10-12-13-15-17-19-
In
D, Lydian
Open
Note Lydian
g-o-2-4-6-7-9-11-12-14-16-18-19-
In
C, Mixolydian.
Open
Note Mixolydian
g-o-2-4-5-7-9-10-12-14-16-17-19-
In
Bb, Aeolian
Open
Note Aeolian
g-o-2-3-5-7-8-10-12-14-15-17-19-
And
in Ab, Locrean
Open
Note Locrean
g-o-1-3-5-6-8-10-12-13-15-17-18-
(For
an explanation of the Greek modes, see the Theory Document.
Which
pattern to use on which string follows scale patterns.
In
G/Em use
e-o-2-3-5-7-8-10-12-14-15-17-19-20-22
Aeolian
b-o-1-3-5-7-8-10-12-13-15-17-19-20-22
Phrygian
g-o-2-4-5-7-9-11-12-14-16-17-19-21-23
Ionian
d-o-2-4-5-7-9-10-12-14-16-17-19-21-22
Mixolydian
a-o-2-3-5-7-9-10-12-14-15-17-19-21-22
Dorian
e-o-2-3-5-7-8-10-12-14-15-17-19-20-22
Aeolian
Patterns
in other keys are just extensions of the patterns from the section Three note patterns in context, open position.
For the full scales, Use appropriate
scale from the “Scales in Other Keys” document and match the patterns.
The three note patterns up the neck in the Ionian mode are
g--o-h2-h4-4-p2-po-
g--o-h2-h5-5-p2-po-o-h4-h5-5-p4-po-
g--o-h4-h5-5-p4-po-o-h4-h7-7-p4-po-
g--o-h5-h7-7-p5-po-o-h5-h9-9-p5-po-
g--o-h7-h9-9-p7-po-o-h7-h11-11-p7-po
g--o-h9-h11-11-p9-po-o-h9-h12-12-p9-po
g--o-h11-h12-12-p11-po-o-h11-h14-14-p11-po
Use
similar patterns from other modes.
Each
of these tree note patterns could occur in any order
g--o-h2-h4-po-h2-h4-
g--2-h4-po-h2-h4-po-
g--4-po-h2-h4-po-h2-
g--o-h4-p2-po-h4-p2-
g--4-p2-po-h4-p2-po-
g--2-po-h4-p2-po-h4-
Or
with repeated notes in groups of four.
Four
note arrangements of three note groups
g--o-h2-h4-p2-po-h2-h4-p2-
g--o-h4-p2-h4-po-h4-p2-h4-
g--o-h2-po-h4-po-h2-po-h4-
g--o-h4-po-p2-po-h4-po-p2-
g--2-po-h4-po-h2-po-h4-po-
g--2-h4-po-h4-p2-h4-po-h4-
g--2-po-h2-h4-p2-po-h2-h4-
g--2-h4-p2-po-h2-h4-p2-po-
g--4-po-h2-po-h4-po-h2-po-
g--4-p2-po-h2-h5-p2-po-h2-
g--4-po-h4-p2-h6-po-h4-p2-
g--4-p2-h4-po-h7-p2-h4-po-
Pentatonic
scales would be a subset of these scales. Just follow the appropriate notes
g--o-2-4-7-9-12-14
g--o-h2-h4-4-p2-po-o-h4-h7-7-p4-po-o-h7-h9-9-p7-po-o-h9-h12-12-p9-po
The
moveable versions of the three note patterns just follow the scales,
g--2-h4-h5-5-p4-p2-4-h5-h7-7-p5-p4-5-h7-h9-9-p7-p5-
g--7-h9-h11-11-p9-p7-9-h11-h12-12-p11-p9
With
the same patterns of arrangement possibilities as the open versions.
The
three not patterns work well for efficiency styles, with three notes per
string. Pick each string with a down stroke, sweeping through
e--1-h3-h4
b--1-h2-h4
g--1-h2-h3
d--1-h2-h3
a--1-h3-h4
e--1-h3-h4
And
then with all upstrokes on the descending version, allowing for maximum speed.
e--4-p3-p1-
b--4-p2-p1-
g--3-p2-p1-
d--3-p2-p1-
a--4-p3-p1-
e--4-p3-p1-
Or,
for maximum speed, forget the scale altogether and just play patterns.
e--1-h3-h4
b--1-h3-h4
g--1-h3-h4
d--1-h3-h4
a--1-h3-h4
e--1-h3-h4
Eddie
Van Halen often plays fretboard patterns without regard to scale, lading to his unique sound. Sticking to the modal scales
leads to a neoclassical sound, like Yngvie Malmsteen.
Whole
tone scales work well with the three-note pattern
g--o-h2-h4-4-p2-po-
g--o-h4-h6-6-p4-po-
g--o-h6-h8-8-p6-po-
g--o-h8-h10-10-p8-po-
g--o-h10-h12-12-p10-po-
As
well as portions of the octatonic scale
g--o-h1-h3-3-p1-po-
g--o-h3-h6-6-p3-po-
g--o-h6-h9-9-p6-po-
g--o-h9-h12-12-p9-po-
Adding
a fourth note increases the possibilities.
g--o-h2-h4-h5-5-p4-p2-po-
g--o-h4-h5-h7-7-p5-p4-po-
g--o-h5-h7-h9-9-p7-p5-po-
g--o-h7-h9-h11-11-h9-p7-po-
g--o-h9-h11-h12-12-p11-h9-po-
g--o-h11-h12-h14-14-p12-p11-po-
With
an increasing number of possible arrangements.
In
groups of four
g--o-h2-h4-h5-po-h2-h4-h5-
g--2-h4-po-h5-h2-h4-po-h5-
g--4-po-h2-h5-h4-po-h2-h5-
g--o-h4-p2-h5-po-h4-p2-h5-
g--4-p2-po-h5-h4-p2-po-h5-
g--2-po-h4-h5-p2-po-h4-h5-
g--o-h2-h5-h4-po-h2-h5-h4-
g--2-h4-h5-po-h2-h4-h5-po-
g--4-po-h5-h2-h4-po-h5-h2-
g--o-h4-h5-p2-po-h4-h5-p2-
g--4-p2-h5-po-h4-p2-h5-po-
g--2-po-h5-h4-p2-po-h5-h4-
g--o-h5-h2-h4-po-h5-h2-h4-
g--2-h5-h4-po-h2-h5-h4-po-
g--4-h5-po-h2-h4-h5-po-h2-
g--o-h5-h4-p2-po-h5-h4-p2-
g--4-h5-p2-po-h4-h5-p2-po-
g--2-h5-po-h4-p2-h5-po-h4-
g--5-po-h2-h4-h5-po-h2-h4-
g--5-p2-h4-po-h5-h2-h4-po-
g--5-p4-po-h2-h5-h4-po-h2-
g--5-po-h4-p2-h5-po-h4-p2-
g--5-p4-p2-po-h5-h4-p2-po-
g--5-p2-po-h4-h5-p2-po-h4-
In
groups of five
g--o-h2-h4-p2-h5-po-h2-h4-p2-h5-
g--o-h4-p2-h4-h5-po-h4-p2-h4-h5-
g--o-h2-po-h4-h5-po-h2-po-h4-h5-
g--o-h4-po-p2-h5-po-h4-po-p2-h5-
g--2-po-h4-po-h5-h2-po-h4-po-h5-
g--2-h4-po-h4-h5-p2-h4-po-h4-h5-
g--2-po-h2-h4-h5-p2-po-h2-h4-h5-
g--2-h4-p2-po-h5-h2-h4-p2-po-h5-
g--4-po-h2-po-h5-h4-po-h2-po-h5-
g--4-p2-po-h2-h5-h5-p2-po-h2-h5-
g--4-po-h4-p2-h5-h6-po-h4-p2-h5-
g--4-p2-h4-po-h5-h7-p2-h4-po-h5-
g--o-h2-h4-h5-p2-po-h2-h4-h5-p2-
g--o-h4-p2-h5-h4-po-h4-p2-h5-h4-
g--o-h2-po-h5-h4-po-h2-po-h5-h4-
g--o-h4-po-h5-p2-po-h4-po-h5-p2-
g--2-po-h4-h5-po-h2-po-h4-h5-po-
g--2-h4-po-h5-h4-p2-h4-po-h5-h4-
g--2-po-h2-h5-h4-p2-po-h2-h5-h4-
g--2-h4-p2-h5-po-h2-h4-p2-h5-po-
g--4-po-h2-h5-po-h4-po-h2-h5-po-
g--4-p2-po-h5-h2-h5-p2-po-h5-h2-
g--4-po-h4-h5-p2-h6-po-h4-h5-p2-
g--4-p2-h4-h5-po-h7-p2-h4-h5-po-
g--o-h2-h5-h4-p2-po-h2-h5-h4-p2-
g--o-h4-h5-p2-h4-po-h4-h5-p2-h4-
g--o-h2-h5-po-h4-po-h2-h5-po-h4-
g--o-h4-h5-po-p2-po-h4-h5-po-p2-
g--2-po-h5-h4-po-h2-po-h5-h4-po-
g--2-h4-h5-po-h4-p2-h4-h5-po-h4-
g--2-po-h5-h2-h4-p2-po-h5-h2-h4-
g--2-h4-h5-p2-po-h2-h4-h5-p2-po-
g--4-po-h5-h2-po-h4-po-h5-h2-po-
g--4-p2-h5-po-h2-h5-p2-h5-po-h2-
g--4-po-h5-h4-p2-h6-po-h5-h4-p2-
g--4-p2-h5-h4-po-h7-p2-h5-h4-po-
g--o-h5-h2-h4-p2-po-h5-h2-h4-p2-
g--o-h5-h4-p2-h4-po-h5-h4-p2-h4-
g--o-h5-h2-po-h4-po-h5-h2-po-h4-
g--o-h5-h4-po-p2-po-h5-h4-po-p2-
g--2-h5-po-h4-po-h2-h5-po-h4-po-
g--2-h5-h4-po-h4-p2-h5-h4-po-h4-
g--2-h5-po-h2-h4-p2-h5-po-h2-h4-
g--2-h5-h4-p2-po-h2-h5-h4-p2-po-
g--4-h5-po-h2-po-h4-h5-po-h2-po-
g--4-h5-p2-po-h2-h5-h5-p2-po-h2-
g--4-h5-po-h4-p2-h6-h5-po-h4-p2-
g--4-h5-p2-h4-po-h7-h5-p2-h4-po-
g--5-po-h2-h4-p2-h5-po-h2-h4-p2-
g--5-po-h4-p2-h4-h5-po-h4-p2-h4-
g--5-po-h2-po-h4-h5-po-h2-po-h4-
g--5-po-h4-po-p2-h5-po-h4-po-p2-
g--5-p2-po-h4-po-h5-h2-po-h4-po-
g--5-p2-h4-po-h4-h5-p2-h4-po-h4-
g--5-p2-po-h2-h4-h5-p2-po-h2-h4-
g--5-p2-h4-p2-po-h5-h2-h4-p2-po-
g--5-p4-po-h2-po-h5-h4-po-h2-po-
g--5-p4-p2-po-h2-h5-h5-p2-po-h2-
g--5-p4-po-h4-p2-h5-h6-po-h4-p2-
g--5-p4-p2-h4-po-h5-h7-p2-h4-po-
For
harmonic minor, simply raise he appropriate note
g--o-h2-h4-h5-5-p4-p2-po-
g--o-h4-h5-h8-8-p5-p4-po-
g--o-h5-h8-h9-9-p8-p5-po-
g--o-h8-h9-h11-11-h9-p8-po-
g--o-h9-h11-h12-12-p11-h9-po-
g--o-h11-h12-h14-14-p12-p11-po-
And
for Melodic Minor
g--o-h2-h4-h6-6-p4-p2-po-
g--o-h4-h6-h8-8-p6-p4-po-
g--o-h6-h8-h9-9-p8-p6-po-
g--o-h8-h9-h11-11-h9-p8-po-
g--o-h9-h11-h12-12-p11-h9-po-
g--o-h11-h12-h14-14-p12-p11-po-
For
whole tone
g--o-h2-h4-h6-6-p4-p2-po-
g--o-h4-h6-h8-8-p6-p4-po-
g--o-h6-h8-h10-10-p8-p6-po-
g--o-h8-h10-h12-12-h10-p8-p6-po-
g--o-h10-h12-h14-14-p12-h10-p8-po-
And
for octatonic
g--o-h2-h3-h5-5-p3-p2-po-
g--o-h3-h5-h6-6-p5-p3-po-
g--o-h5-h6-h8-8-p6-p5-po-
g--o-h6-h8-h9-9-p8-p6-po-
g--o-h8-h9-h11-11-h9-p8-po-
g--o-h9-h11-h12-12-p11-h9-po-
Five-note
patterns are difficult, but cover a lot of fretboard.
g--o-h2-h4-h5-h7-7-p5-p4-p2-po-
g--o-h4-h5-h7-h9-9-p7-p5-p4-po-
g--o-h5-h7-h9-h11-11-p9-p7-p5-po-
g--o-h7-h9-h11-h12-12-p11-p9-p7-po-
g--o-h9-h11-h12-h14-14-p12-p11-p9-po-
Octatonic
works well in this pattern.
g--o-h2-h3-h5-h6-6-p5-p3-p2-po-
g--o-h3-h5-h6-h8-8-p6-p5-p3-po-
g--o-h5-h6-h8-h9-9-p8-p6-p5-po-
g--o-h6-h8-h9-h11-11-p9-p8-p6-po-
g--o-h8-h9-h11-h12-12-p11-p9-p8-po-
The
five note patterns multiply the different arrangements from the other patterns,
but in practice, these patterns would be difficult to master because of the
stretched finger position necessary.
Adding
fingers from the right hand increases the possible combinations. Practice using
a finger on the right hand as a hammered note. Some people prefer the first
finger and some the second. Practice hammering up the neck using only the right-hand
tap.
g--o-h2-po-h4-po-h5-po-h7-po-h9-po-h11-po-12-po-
(Some
tablature refers to a tap with the symbol t.)
This
technique is in the song “Thunderstruck” by AC-DC.
A
common technique is to hammer on the twelfth fret and pull down to a note
below.
g--h12-po-h12-p2-h12-p4-h12-p5-h12-p7-h12-p9-h12-p11-h12
For three note
patterns, take the two note patterns and add a hammered tapped note. Here the
12th fret hammers are with the right hand and the others are left-handed.
g--h12-po-h2-h12-p2-po-h12-po-h4-h12-p4-po-h12-po-h5-h12-p5-po-
g--h12-po-h7-h12-p7-po-h12-po-h9-h12-p9-po-h12-po-h11-h12-
Three-note
hammers and pulls off the moveable positions started with this lick from
“Eruption” by Van Halen.
g--h12-p5-h8-h12-p5-h8-h12-p5-h8-h12-p5-h8-
Other
patterns include
g--h12-p5-h6-
g--h12-p5-h7-
g--h12-p5-h9-
Once
the tapping becomes natural, move the tapped note around the scale also.
g--h12-p5-h8-h14-p5-h8-h15-p5-h8-h10-p5-h8-
The
song “Hot for Teacher” by Van Halen is based on a three-note pattern moved
around the strings.
e--o-h3-h7-h12-p7-p3-po-h3-h7-h12-p7-p3-po-h3-h7-h12-p7-p3-po-h3-h7-h12-p7-p3-po-
Practice
sliding both hands around the scales, or just to where you fund interesting
sounds.
For
four note patterns, just add a tapped note to the three note patterns from the
last section,
g--12-po-h2-h4-h12-po-h2-h4-h12-po-h2-h4-h12-po-h2-h4-
or
g—12-p4-p2-po-h12-p4-p2-po-h12-po-h2-h4-h12-po-h2-h4-
Tapped notes insert into any
of the previous patterns of four or five notes lead to five or six note
possibilities.
Examples:
g—-12-po-h2-h4-h5-h12-p5-p4-p2-po-
g--12-po-h5-h6-h8-h9-h12-p9-p8-p6-p5-po-
These methods are a great way
to build up lots of fast notes with minimum effort.
Advance
practitioners of tapping technique use more than one finger on the right hand.
Any of the moveable patterns from the left hand are transferrable to the right
hand. When coupled with left hand technique, long strings of notes are possible;
for example, this scale is with the left hand on the first four notes and then
the right hand on the rest
Finger l 4 5
r1 r2 r4
g-----o-h2-h4-h5-h7-h9-h11-
Since
the palm is no longer available to mute strings, many players use some kind of
cloth muting device to prevent string ringing.
Adding
the right-hand leads to an amazing amount of possibilities. Now the guitar
plays like a piano, so separate right and left hand
lines are possible. The Chapman Stick is an instrument designed for tapping. Chords
may also be hammered out by either hand. Listen to work by Stanley Jordan for
amazing two hand technique, including playing two guitars at once at times, one
with each hand.
Using
hammers and taps is the quickest way to achieve lightning fast runs and
patterns, particularly when coupled with efficiency style picking techniques. But
remember the main goal of music is to emote, and not just to play fast. Avoid musical
diarrhea, just fast and runny with no substance. Use these techniques
sparingly, or they quickly become dull and uninteresting.
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