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Providing Accompaniment

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Having now studied chords and arpeggios in detail, it might seem obvious that the two-handed tapping technique could potentially be a good tool for providing accompaniment. Being able to sound multiple notes with each hand is essentially taking the same approach that a pianist would use when playing through a chord progression. In this video course we’ll be working through some accompaniment parts played with the tapping technique. These exercises will put everything covered in the previous six courses to use.

Don't forget to hit the Download Resources button above to receive the PDF worksheet and backing tracks that accompany these lessons! This course contains the following videos, each of which can be selected from the video player above:

1. Exercise #36

In this exercise I’ll be illustrating a very simple way of playing through a diatonic chord progression in the key of C. In the next two exercises, we will gradually develop this into a more complex part.

2. Exercise #37

This exercise is a development of the previous one and adds some movement into the bass part.

3. Exercise #38

This exercise takes the chord progression from the previous two exercises further still, resulting in a 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’.

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 part of ‘Sexually Active’ by Stuart Hamm.

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 uses the same techniques as the previous two exercises.

13. Exercise #48

This exercise is an excerpt from a composition that I wrote called ‘Laura’. The tapping sequence that is used here is based on one that was covered in the first Tapping Arpeggios course.