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Linear Tapping (Part 2)

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The previous course covered the basics of linear tapping, a variant of the tapping technique that can be used to play fast, lead guitar-like lines. With the groundwork now in place, this course will cover some popular variations on the technique. The concepts presented here will offer considerable scope for creating tapped lines of your own. As ever, remember that this technique has a place, and should not be overused – your future employability as a bass player may very well depend on your using it with extreme caution!

As you work through this material, you might find the following courses useful (all included in the monthly subscription cost):

Don’t forget to hit the Download Resources button above to get the PDF worksheet and audio files for this course (available to subscribers only).

This course is 39 MINUTES long and contains the following videos, each of which can be selected from the video player above:

1. Playing Rapid-Fire Trills

This lesson will demonstrate a popular variation on the linear tapping technique in which each hand is used to repeatedly play the same note.

2. Exercise #2

The figure from the previous video can be easily expanded upon to include more notes. In this exercise, a repeating two beat triplet figure is used.

3. Exercise #3

This is a longer exercise that will enable to you to further develop this concept. This exercise uses the A minor pentatonic scale.

4. Using Pentatonic Box Shapes

This video demonstrates the box shapes of the pentatonic scales and features a linear tapping exercise that is built on two of them.

5. Exercise #5

This exercise continues the concepts from the previous video. The second box shape is played by the fretting hand and the fourth is played by the picking hand.

6. Exercise #6

This exercise continues the concepts from the previous video. The third box shape is played by the fretting hand and the fifth is played by the picking hand.

7. Exercise #7

This exercise continues the concepts from the previous video. The first box shape is played by the fretting hand and the fourth is played by the picking hand.

8. Exercise #8

String skipping is a great way to make tapping lines less sequential, by incorporating larger interval jumps. This is illustrated using another pentatonic-based exercise.

9. Exercise #9

This variation on the tapping sequences that have been covered so far involves two taps with the picking hand performed in quick succession.

10. Exercise #10

This exercise is similar to one of the basic tapping patterns covered in the previous course. This time however, the final note in the sequence is on a lower string.

11. Exercise #11

The previous exercise can be developed to play through all of the diatonic chords. This exercise illustrates that sequence in the key of G major.

12. Exercise #12

This exercise illustrates another popular variation on the linear tapping technique. This one is based on a Cmaj7 chord.

13. Exercise #13

The concept from the previous exercise can be adapted for any chord type. In this exercise it is used to play through the diatonic seventh arpeggios in the key of G.