One of the reasons that “Eruption” was so successful is the material that Van Halen chose to tap. The tapping segment of “Eruption” is based on arpeggios played across a single string. Since he didn't have to change strings, the flow of the notes sounds uninterrupted. Let's apply this concept to some simple arpeggios across the E string. For example, you can take an A-minor arpeggio (A, C, E) and turn it into a tapping arpeggio. You can easily play the A and the C with the first and fourth fingers on the fifth and eighth frets respectively; and you can play the E with a tap. Put these together, and you get the arpeggio tapping in FIGURE 12-7.

To make this lick really work well you need to repeat it in a looping fashion. Repeating the same small shapes several times is what made “Eruption” work so well. You can use this method for any arpeggio you think of—diminished, major, and minor all work well. If you want to be really adventurous, you can use more fingers to tap. You can even add more notes from the chord!

FIGURE 12-8 is an example showing an E-diminished seventh arpeggio with tapping. This long example is worth the effort.

Like any other technique, tapping is just another tool to get the job done. When you apply it to musical situations, you can have great success; but don't just tap for the sake of tapping. Tapping is most effective in situations where tapping lets you play licks you can't do any other way.