Tap Ornament Drill
Diese Übung wurde noch nicht vollständig übersetzt — die Anleitung unten ist auf Englisch.
The tap is the mirror image of the cut: where a cut uses a finger above the note, a tap uses a finger below. Also called a 'strike' or 'pat' in some traditions, the tap is rarely heard alone — it is the final element of a roll, which makes it essential to master before attempting rolls. Like the cut, it must be executed quickly enough to decorate rather than replace the main note.
Schritt-für-Schritt-Anleitung
- 1
Play a sustained E. Now tap the D finger (the lowest hole, normally open for E) down briefly and lift it back. You should hear a short 'dull' interruption — that is a tap.
- 2
Repeat the tap on E many times, aiming to make the tap as short and even as possible. The E should sound uninterrupted in character.
- 3
Move to F# — tap with the E finger below. Then G — tap with the F# finger. Continue up the scale.
- 4
Practice a sequence of tap-based repeated notes: E-E-E-E using only taps for articulation (no tongue).
- 5
Compare: play E-E-E-E with cuts, then E-E-E-E with taps. Notice the sonic difference — cuts have a brighter crack, taps have a softer, lower thud.
Übungstipps
- Taps should fall exactly on the beat — rhythmic precision is even more important here than for cuts.
- The tap produces a slightly duller sound than the cut because you are covering a lower hole. This is correct.
- Note: you cannot tap on D because there is no hole below it. For repeated D notes, use the tongue or a cut only.
- Taps rarely sound good in pairs. In traditional music, you typically use one tap per repeated-note group.
Häufige Fehler
- !Leaving the tapping finger down too long — this creates an audible secondary note rather than a decoration.
- !Tapping with too little force so the hole never fully closes. You need enough contact to briefly stop the airflow.
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