down on a straight-back chair on a wooden floor. We’ll start you off with “Reel des noces d’or” because it is a classic and easy for beginners. First, so you can thoroughly understand the technique, we’ll teach you how to foot tap to the recording.

Study the diagram below. It represents the first two measures of “Reel des noces d’or.” Numbers 1, 2, 3, and 4 represent the down beats (1 and 3 are the strong beats; 2 and 4 are the weak beats); the “&s” represent the syncopated or up beats. Play the tune on your CD player, and start counting 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 etc. so that you have four counts per measure. Start tapping your right foot on the downbeats. Tap with your entire foot so that it flatly hits the floor on each downbeat. To do this, you’ll have to lift your entire leg an inch or two – no more – on each upbeat. (If you’re left-handed/left-footed, use your left foot.) Do this until you have mastered it - at least one time through the entire tune.

            Now, stop the CD but keep tapping. Slow the pace of your tapping just a bit. Keep tapping, but stop counting and introduce your left foot into the mix by tapping it on every other upbeat – the “&s” (see the diagram). Your tapping should sound like the TAGADA TAGADA of a galloping horse.

Your two legs should be acting like pistons. While your right foot is keeping the tempo on the downbeats (the TAs and the DAs), your left foot is coming in on every other upbeat (the GAs).

While tapping, try to relax. Don’t tense up. Most importantly, economize your movements. Pump your legs up and down only a couple of inches, with as little side-to-side and front-to-back motion as possible. Keep your legs and feet as close to your chair and to each other as possible. In other words, tap tightly.  By  observing  these  principles, your tapping will be more percussive, and you’ll tire less quickly. Foot tapping takes energy and can tire you out quickly. You don’t want to tire out before an entire tune or set is complete. If you take another look at the diagram above, you’ll understand why we call this “tapping-in-threes.” You can depart from this basic format and the principles just discussed later – after you master them.

You can see a video here : https://www.youtube.com/watch?v=l-oNC506K6E

Tapping in fours

Some day, you may have the pleasure of listening to a recording of fiddler Louis “Pitou” Boudreault. You’ll be surprised not to hear the TAGADA we’ve just discussed. Pitou taps in fours: his left foot taps on every upbeat. You hear TAGADAGA TAGADAGA. Actually, because he taps on all the notes – downbeats and upbeats, we could say he taps in eights. Actually, because the two legs are pumping up and down in synchrony, you may find his method easier. Try it.