#1
Greetings,

Does anybody know of any nifty right hand excercise's that work all fingers?

Thanks.
#2
1h2h3h4
just do that down the neck also suggest using an acoustic or something with heavier strings if your trying to build up strenght
#3
While the chromatic idea is beneficial, the more important aspect of 8 finger tapping, or right hand tapping, is developing finger independence. you'll probably find that doing a 1-2-4 sequence, for example, will see your ring, or 3rd finger, coming down with the pinky.
Basic chromatic permutations at a slow speed - using hammer ons and pull offs - are a great remedy for this, though a fair amount of time will have to be spent on it. The permutations would be: 1-2, 1-3, 1-4, 2-3, 2-4, and 3-4, across all strings; ascending with hammers, descending with hammers, ascending with pull-offs, and descending with pull-offs. Then, you can try out tapping out scales mode by mode, using the same fingers as you would with your left hand (this is a general rule of right hand tapping).

For more musical practice, I'm partial to tapping out standard three-string arpeggios for practice, using the same fingers on my right hand as I would for my left. Something like this:

e-------13-h17-p13---------15-h19-15------------
B----15--------------15-s17-------------17--------
G-14-----------------------------------------16-s14

which can be exploited further by trying to sync up both hands (such as having the left hand drone on the root, or perform the same sequence in its register).

The permutations are probably the best place to start, followed by the modes, and the syncing up, or trading off between both the left and right hands with arpeggios, sequences and whatnot, like this:

e-----8-h12-T15-h17-p15-p12-p8-----8-h12-T15-h19-p15-p12-p8---
B-10---------------------------------10----------------------------------

using the left hand for the A minor arpeggio, and right hand for the extensions. Exercises like this, too, can be moved around the modes.

Keep in mind though, while it's all well and good to learn the technique, as it opens it many rhythmic, harmonic, intervalic and melodic possibilities, it really should be explored past the practice and used musically, as with any technique, which I really think should be considered before such a technique is learned; while it is invaluable, it only really is with proper consideration and knowledge of how it can be applied.
Last edited by juckfush at Dec 25, 2009,