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Double Popping

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Double popping is a technique that requires you to pop the higher strings on the bass with the first and second fingers. These two popped notes - in combination with slapped notes - are commonly used as part of a triplet rhythm. Double popped triplets are often added into slap grooves to add rhythmic interest.

Most bass players learn to pop notes with either the first or second finger. It’s a good idea to be comfortable using both however, as this opens up further possibilities. These include popping double stops (as covered in the previous chapter) and playing triplet rhythms as described above. In this course we’ll be focussing on the latter.

If you require additional help with any of the techniques used here, 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 worksheet and audio files for this piece (available to subscribers only). The worksheet is available with TAB and without, for those who wish to give their reading skills a workout.

This course is 46 MINUTES long and contains the following videos, each of which can be selected from the video player above:

Exercise #59

This exercise opens with a common double popping figure. After an initial slapped note, a ghost note is slapped, followed by pops with the first and second fingers.

Exercise #60

This exercise uses the same triplet rhythm as the previous one, bit this time follows the second popped note with a slapped note on the same string.

Exercise #61

This exercise uses the same triplet rhythm, but this time all of the notes are pitched. You can allow all three notes to ring into one another for a chordal effect.

Exercise #62

In this exercise the triplet rhythm is played on the first part of the beat rather than the second. This is a busy line that also makes use of some sliding octave figures.

Exercise #63

This line again uses a double popped ghost note triplet. This is a tricky line – there are also notes slapped and popped on the same string in quick succession.

Exercise #64

This exercise uses the ghost note double popped triplet idea again. This time, the line is played against a swung sixteenth note feel.

Exercise #65

This exercise is also played with a swung sixteenth note feel. This time, the double popped notes are played as thirty-second notes.

Exercise #66

As well as double popped sixteenth note triplets, this exercise also makes use of pitched fretting hand slaps. As a result, this is a busy line.

Exercise #67

This exercise has a very simple chord movement: Dm7 – Ebm7. Double popping is once again used as part of a sixteenth note triplet figure here.

Exercise #68

This exercise is built on a repeating phrase that lasts for a beat and a half. Note that after an intense first bar, the second features a lot of space.