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Slap Bass Study #4

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This hyperactive slap bass study features a range of different techniques. Although conventional slap techniques are used for many parts of the line, there are sections which call on more advanced concepts. These include double popping, double thumbing, and the open-hammer-pop technique. In addition, there are some fingerstyle grooves and unison lines to get your teeth into. All of these elements make for a very challenging study piece.

For bassists who wish to learn the piece but require additional assistance with some of the techniques required, the following courses (all included in the monthly subscription cost) should prove useful:

Don’t forget to hit the Download Resources button above to get the PDF transcription and audio files for this piece (available to subscribers only). The transcription is available with TAB and without, for those who wish to give their reading skills a workout.

This course is 1 HOUR & 1 MINUTE long and contains the following videos, each of which can be selected from the video player above:

1. Advanced Level – Slap Bass Study #4

This video is a demonstration of the piece, performed on a 1966 Fender Jazz bass strung with new Rotosound stainless steel strings.

2. Course Overview

In this video I’ll be discussing the main challenges in this piece, as well as offering some advice on how you can achieve the perfect tone for tracks such as this.

3. A Section

This video covers the fingerstyle lick that opens the piece, as well as the slap groove that follows it. This lesson covers bars 1-13 in the accompanying transcription.

4. C Section

This section is built around a four-bar slap groove that is repeated with variations. The closing lick makes use of the double popping technique. This lesson covers bars 14-32.

5. E Section

This section is played in unison with the guitar and piano. The bass part is played with the fingerstyle technique here. This lesson covers bars 37-46.

6. F Section

This section is the piano solo. The bass plays a fingerstyle groove here, one that is peppered with fills. This lesson covers bars 47-62 in the transcription.

7. G Section

This section is the guitar solo. The bass plays a simpler line here, although there is a double thumbing lick to tackle in the closing bars. This lesson covers bars 63-81.

8. H Section

This closing section is based on the main riff from the A section, but with added chordal parts and tenth figures. This lesson covers bars 82-88.