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Chris Broderick

Guitar World Member For: 3 years 2 weeks
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Chaos Theory with Chris Broderick: Adapting Keyboard-Style Arpeggios to Fretboard Tapping, Part 1

This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.

Chaos Theory with Chris Broderick: Getting a Handle on Essential Pick-Hand Techniques

The exercises in this month’s column emphasize pick-hand techniques that are intrinsic to my style: sweep picking, alternate picking and multiple-finger fretboard tapping. Specifically, I wanted to create a convergence of these different playing techniques within a musical-sounding piece.

Betcha Can't Play This: Chris Broderick's Arpeggio Etude — with Tapping, Hammer-Ons and Attitude

“This first lick [FIGURE 1] is an arpeggio etude [musical-sounding exercise] in A minor that integrates tapping, multiple hammer-on and pull-off combinations and a little bit of economy picking into a steady stream of 16th notes. It pretty much stays within the realm of the A minor pentatonic scale [A C D E G], with the flatted fifth, Eb, added in the last two bars.

Adapting Keyboard-Style Arpeggios to Fretboard Tapping, Part 2

Last month I introduced an original composition that involved the use of quickly played arpeggios, as well as utilized two-hand tapping techniques to emulate the way in which classical pianists play fluid-sounding arpeggios across multiple octaves.