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Providing Accompaniment

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Having studied chords and arpeggios in detail, it might seem obvious that two-handed tapping can be used for playing accompaniment parts. Being able to sound multiple notes in each hand is essentially using the same approach that a pianist would take when playing through a chord progression. This video course will show you how to play some accompaniment parts with the tapping technique. These exercises will put to use everything covered in the previous six courses.

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 1 HOUR & 7 MINUTES long and contains the following videos, each of which can be selected from the video player above:

1. Exercise #36

This exercise illustrates a simple way of playing through a diatonic progression in the key of C. In the next two exercises, this will be developed into a more complex part.

2. Exercise #37

This exercise takes the chord progression that was used in the previous exercise and adds further movement into the bass part.

3. Exercise #38

This exercise takes the chord progression from the previous two exercises further still, resulting in a much more adventurous tapping line.

4. Exercise #39

This exercise uses chords i, VI and VII in the key of D minor and is an excellent illustration of how the tapping technique can be used to create an accompaniment part.

5. Exercise #40

This exercise is in the key of F minor and reuses some of the harmonic techniques that were covered in the previous exercise.

6. Exercise #41

This exercise is in the key of A major. The two hands will be playing intertwining lines here, making this a more difficult line to play than it might seem.

7. Exercise #42

This exercise is in the key of E minor and is played in a similar way to Stuart Hamm’s composition ‘Flow My Tears’. The opening note in the first three bars is slapped.

8. Exercise #43

This is another accompaniment part in E minor, this time with an unusual chord change: Em7 to Bbmaj7. You’ll hear that the pairing of these unrelated chords is quite striking.

9. Exercise #44

This exercise is based on a simple chord progression in the key of D. The picking hand taps a continuous chordal part, whilst the fretting hand supplies a bassline.

10. Exercise #45

This exercise is a tapping line that is similar in style to the opening section of ‘Sexually Active’ by Stuart Hamm. This is a very rhythmic application of the technique.

11. Exercise #46

This exercise is a development of the previous one. The technique of keeping one part the same whilst the other moves is reused here.

12. Exercise #47

This exercise is more complex and is played entirely in the upper register. The fundamental technique used here is the same as in the previous two exercises.

13. Exercise #48

The tapping sequence that is used here is based on one that was covered in the Tapping Arpeggios (Part 1) course. This is a very challenging part to play.