Using tapping in your arpeggio playing.
 
 
Tapping is a technique that divides the waters among guitarists so to speak. On the one hand there’s the players who love the technique and on the other hand there’s the people who associate the technique with Van Halen and the 80’s glam/hair metal scene. While I personally love Van Halen and glam metal most people don’t and it has caused the technique to get a bit of a bad reputation as something that is ONLY applicable to this style of music. Nothing could be further from the truth. In reality tapping is can be used in all styles and genres and its actually just a way for the player to reach notes, that would otherwise be unreachable. In this lesson I am going to show you some ways to combine tapping and arpeggios in creative ways.
 
The value you will get out of this lesson does not consists of the actual licks or the arpeggios that I will be showing, but in you understanding the principles behind the licks and arpeggios. I will be explaining everything as I go along, but it's your job to use and implement it in your own playing.
 
Let's begin
Arpeggios can be found all over the fretboard, but today we will be focusing on arpeggios on one string. If you are not familiar with the concepts of one string arpeggios, you can see a major and a minor arpeggio in the neck diagrams below.
 
These arpeggios can be played out in different voicing as you will see in this lick. In fact, you can move between major and minor arpeggios moving only one finger. For an example of this watch this movie:
 
Video 1 : 
 
These arpeggios seen above can also be expanded with other notes than the root, third and fifth, to give the sound more flavor.   All you have to know is the extended notes relationship to the root note. In the lick we will be tapping through a major 7th arpeggio ascending up on one string. The major 7th note can always be found one half-step (one fret) below the root note as explained in the video below.
 
 
Tapping through arpeggios in three octaves.
A really cool way to expand upon the arpeggio ideas is to tap through arpeggios in three octaves. This will expand the sound, and this will definitely not make you sound like Van Halen. Take a look at the neck diagram below. Here you have a major arpeggio outlined in three octaves starting on the low E-sting. This is the easiest 3 octave arpeggio to play as you play exactly the same on the low and the high E-string. You can also start the arpeggio on the fifth string, but the lick will be a little more technically challenging as you will see in the video below.
VIDEO 2: 
 
Your assignment is to not only learn these licks but use the ideas behind the licks in your own playing. This means expanding, developing, altering and adapting them to different styles and arpeggios. Only by doing this will you have going the value, that you need from this lesson.
 
 
About the author: Janus Buch is the founder of the Bredballe Guitarskole in Vejle. Here he trains coaches and mentors his guitar students to become great guitarist no matter where they start. If you are in Vejle and looking for the best Rock guitar lessons in Rock the Guitar Academy is the place to go.

​Why Rhythm Is Vital in Guitar Playing Edward Nordberg – Guitar Instructor, founder of Gitarrlektioner Lidingö Rhythm lies at the heart of music — it is the framework that allows melody and harmony to breathe, and for instruments like the guitar to communicate meaningfully through time. In this article, we explore why rhythm is important in guitar playing, from cognitive, motor, musical, and expressive perspectives. 1. What we mean by “rhythm” in the context of guitar Before diving into its importance, it helps to clarify what “rhythm” refers to: ● Pulse / beat: the steady underlying sense of time. ● Meter / structure: grouping of beats and accents (e.g., 4/4, 3/4). ● Rhythmic patterns: variations layered on top of the beat — syncopations, rests, triplets, etc. ● Microtiming / groove / feel: the subtle shifts (laid-back, pushed, or on-the-beat) that give music its unique character. In guitar playing, rhythm is not just about hitting evenly spaced beats — it’s about placing chords, strums, and notes at the right moment in relation to the song’s structure to support its feeling and flow. 2. Cognitive and motor connections Rhythm perception and production Research shows that music training enhances both rhythm perception and rhythm production — meaning musicians become better at hearing rhythmic structures and reproducing them accurately (Frontiers in Psychology). Playing guitar with solid rhythm requires coordination between auditory processing (what you hear), motor output (fingers and hands), and proprioception (awareness of finger position). This skill develops through targeted rhythmic practice, often with metronomes or backing tracks. Prediction and anticipation Rhythm is also about predicting what comes next. As a guitarist, you anticipate the upcoming beat or accent to time your chord changes or strums correctly. Neuroscientific research connects rhythm to predictive processes in the brain: the brain continuously prepares for incoming events and aligns actions with expected timing (Frontiers in Psychology). In short: the stronger your rhythmic ability, the more confidently you can stay in time, even when mistakes occur. 3. Musical and expressive aspects Ensemble playing and timing When playing with others — drums, bass, vocals, or other guitars — rhythm is the common language. If you cannot maintain a steady pulse, you risk dragging or rushing, which disrupts the whole band. Studies show that experienced guitarists deliberately adjust strumming motions and timing to create different feels (“laid-back,” “on-the-beat,” or “pushed”), shaping how the passage of time is perceived (Empirical Musicology Review). Groove and microtiming In genres such as rock, blues, and jazz, the soul of the music lies in subtle timing differences. Playing too mechanically “on the grid” can sound lifeless. By consciously varying microtiming, guitarists create groove and emotional depth. 4. Practical benefits for guitarists Rhythm as integrated technique Whether you are learning chord transitions, strumming patterns, or picking exercises, rhythm provides the structural framework: if you feel the pulse, you know when to change chords and where accents should fall. Without rhythm, transitions easily collapse under pressure. Confidence and structure A guitarist with solid rhythm feels secure navigating a song’s form — verses, bridges, and choruses. You are less likely to lose your place, since rhythm serves as a roadmap that ties the performance together. 5. How to build rhythmic skills in practice ● Practice with a metronome: start slow and only increase tempo once consistency is achieved. ● Play along with drum loops or backing tracks to integrate your guitar with real rhythmic contexts. ● Work with subdivisions — eighth notes, sixteenth notes — to learn how to place strums between beats. ● Actively listen to microtiming in your favorite songs: does the guitarist lean forward or pull back on the beat? ● Create short rhythmic motifs and vary them with pauses or syncopations. ● Use clapping, foot tapping, or vocalizing rhythms while playing guitar to link body and instrument. 6. Conclusion Rhythm is not just background — it is the backbone of expressive and reliable guitar playing. For guitarists, strong rhythmic skills mean: 1. better coordination between hearing and movement, 2. the ability to anticipate and stay locked in, 3. smoother collaboration with other musicians, 4. greater expressive freedom through microtiming, 5. stability and confidence in navigating song forms. Mastering rhythm transforms guitar playing from mechanical to musical — it is the foundation on which technique, creativity, and expression are built. Sources ● Tierney, A. & Kraus, N. (2016). Getting back on the beat: links between auditory-motor integration and precise timing. Frontiers in Psychology. ● Vuust, P. et al. (2022). Music in the brain: rhythm and predictive coding. Frontiers in Psychology. ● Johansson, M. (2020). Microtiming and strumming in guitar performance. Empirical Musicology Review.