Dave had mentioned he was teaching an advanced guitar technique class that semester and had jokingly invited Eddie to sit in sometime. Come see how the kids are learning these days. You might be surprised or horrified. Eddie had decided to take him up on it. He showed up to Dave’s Tuesday afternoon class wearing jeans, a plain black t-shirt, and a Dodgers cap.
Dave had introduced him to the class simply as, “My friend Eddie sitting in today without using his last name. Dave wanted to see if any of the students would recognize him. The class was advanced guitar techniques focusing on tapping, sweep picking, hybrid picking, and other technical approaches. About 20 students ranging from teenagers to people in their 30s all serious about guitar.
They sat in a semicircle with their instruments taking notes. But Dave wasn’t teaching today. He’d called in sick, legitimately sick, not just to set up Eddie’s visit, and the substitute instructor was someone Eddie didn’t know. His name was Marcus Vance, and according to the introduction he’d given the class, he had a music degree from Berkeley, had studied with several famous jazz guitarists, and had been teaching at MI for 3 years.
Marcus was technically proficient. Eddie could see that immediately. He could play fast, clean, and with precision. But there was something rigid about his approach, something that suggested he believed there was only one correct way to do things. Eddie settled into a chair in the back row and just listened.
This would be interesting. Marcus was demonstrating two-handed tapping technique playing through a practice amp at the front of the class. His technique was clean and accurate. Eddie could see that. But it was also very prescribed. Specific finger positions, specific hand angles, measured and methodical like a laboratory procedure.
“This is the proper way to execute tapping technique,” Marcus was explaining while demonstrating. “Right hand comes over the neck at precisely a 45° angle. Index or middle finger taps perpendicular to the fretboard, exactly perpendicular, not at any angle. Left hand maintains classical position with thumb behind the neck, never over the top. Wrist straight, not bent.
This is how it’s done correctly. Any deviation from these positions will result in inconsistent tone, lack of control, and potential repetitive stress injury over time. He played a tapping exercise, technically perfect, musically sterile. This is the standard taught at Berklee, at GIT, at every serious music institution.
It’s biomechanically optimized for efficiency and injury prevention. A student raised her hand, a young woman with a Les Paul across her lap. What about using different fingers? Or approaching from underneath instead of over the top? I’ve seen videos where Marcus cut her off with a patient but firm shake of his head. Those are improper techniques.
They might work in the short term, especially for guitarists with natural talent who can compensate for inefficiency, but they create bad habits that will limit your development. There’s only one biomechanically correct way to tap, the way I’m showing you. It’s been studied, measured, and validated. If you can’t do it this way, you’re not ready for advanced techniques.
You need to build the proper foundation first. Eddie shifted in his seat, increasingly bothered by the absolutism. That wasn’t true. Eddie’s own tapping technique came from underneath the neck, not over the top. His hand angle was completely different from what Marcus was prescribing. His thumb often went over the top of the neck, which Marcus had just called incorrect, and it had worked fine for 40 years.
Marcus continued, warming to his theme. The problem with self-taught guitarists is they develop these idiosyncratic techniques that feel natural, but are fundamentally wrong from a biomechanical standpoint. They’re working against their own anatomy. Proper instruction eliminates those bad habits before they become ingrained.
That’s why formal education is so valuable. It gives you the correct approach from the beginning. Another student raised his hand, a teenager with an Eddie Van Halen poster visible on his notebook. But what about Eddie Van Halen? His tapping technique is completely different from what you’re showing. He approaches from underneath the neck.
His hand position is nothing like this. And it obviously worked. Marcus smiled in a way that suggested he’d been waiting for this question, that he had a prepared answer. Eddie Van Halen is a perfect example of natural talent overcoming poor technique. Yes, his approach is unorthodox. Yes, it clearly worked for him.
I’m not denying his success or ability. But, from a pedagogical standpoint, he could have been even better with proper formal training. His technique is inefficient, biomechanically suboptimal. He compensated with exceptional natural ability and thousands of hours of practice. But, for students learning now, there’s no reason to adopt his inefficient methods when we have the correct, scientifically validated approach available.
Eddie felt his eyebrows go up. He could have been even better with proper training? That was That was something. He spoke up from the back row, keeping his voice neutral. Actually, there are several ways to approach tapping. Different hand positions work for different players in different musical contexts. The entire class turned to look at him.
Marcus stopped mid-demonstration. I’m sorry, Marcus said with barely concealed irritation. Are you teaching this class? Do you have advanced technique credentials? No credentials, Eddie admitted, just experience. Marcus set down his guitar and crossed his arms. Well, experience without proper training usually leads to bad habits.
That’s the entire point of formal education. To correct the mistakes that self-taught players make. He looked at Eddie more carefully, seeing just a regular middle-aged guy in a baseball cap. But, since you seem to think you know better than established pedagogical methods, why don’t you to up here and demonstrate your alternative approach? The challenge was clear and condescending.
Marcus was expecting to embarrass a student who’d spoken out of turn. Eddie looked at the 20 students, all watching this exchange with interest. He glanced at the empty chair where Dave should have been sitting. Dave would have loved this. Eddie stood up and walked to the front of the class.
Marcus handed him a guitar, a Fender Stratocaster that belonged to MI, set up for teaching. “Please,” Marcus said with a slight smirk. “Show the class your unorthodox technique.” Eddie took the guitar and adjusted the strap. “Before I demonstrate, can I ask you something?” “What?” “Do you know who Eddie Van Halen is?” Marcus looked confused by the question.
“Of course, we just discussed him. Natural talent, poor technique, could have been better with formal training. Why?” “Because I’m Eddie Van Halen,” Eddie said calmly. “And I’d like to demonstrate why different approaches to tapping aren’t wrong. They’re just different.” The classroom exploded.
