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Double Thumbing

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The double thumbing technique is a relatively recent addition to the slap bassist’s toolkit. Using this unusual variant on the slap and pop style, it is possible to play lines that would otherwise be difficult or impossible to play using traditional slap technique.

Double thumbing involves using the thumb of the picking hand to play two strokes - a downstroke and an upstroke. In this respect, it is similar in style to the way in which a plectrum is used. When playing using this technique, the downstrokes are played with the upper corner of the thumb (including the nail), after which the thumb passes through the string, ready to play it again with an upstroke. This is relatively simple to do, although it is likely to result in some blisters!

Although the double thumbing technique was popularised by Victor Wooten in the early nineties, it was first used back in the seventies by bassists such as Larry Graham (Sly & The Family Stone) and Doug Rauch (Santana). French Canadian bassist Alain Caron also used it heavily in his playing with UZEB during the eighties.

You can learn more about the double thumbing technique in the Slap Bass – Advanced Level video course, which you can find HERE. Don't forget to hit the Download Resources button above to receive the PDF worksheet and audio files that accompany these lessons.

This course contains the following videos, each of which can be selected from the video player above:

Exercise #85

This exercise is a relatively straightforward double thumbing groove.

Exercise #86

This energetic line uses the double thumbing technique to play ghost notes in between many of the pitched notes. This adds rhythmic excitement to the line.

Exercise #87

This exercise is a continuous sixteenth note groove that is similar in style to lines that would conventionally be played with the fingerstyle technique.

Exercise #88

In this exercise, the double thumbing technique is used to play sixteenth note triplets: down-up-pop.

Exercise #89

This up-tempo groove is challenging, but great fun to play. The final bar features a classic turnaround figure, played using continuous down and upstrokes.

Exercise #90

This line works perfectly over a G7 chord. You are required to switch between conventional slap techniques and double thumbing here, so be sure to practice this one slowly.

Exercise #91

This line is played at a much slower tempo and is played as continuous sixteenth notes. There are several hammer-ons used in the line which make things a little easier.

Exercise #92

This hyperactive line uses the double thumbing technique to play sixteenth note triplet figures once again. Although these might look (and sound) difficult, hopefully you’ll find them easier to play than you might expect.

Exercise #93

This is a slow-tempo groove written in the style of bass legend Marcus Miller, another popular user of the double thumbing technique. Double thumbing is used minimally here, as part of the descending minor pentatonic triplet lick in the fourth bar.

Exercise #94

This quirky line heavily features sixteenth note triplets, this time played using down and upstrokes combined with a hammer-on.

Exercise #95

This up-tempo line requires some rapid-fire double popping as well as the double thumbing technique. The double pops are used for a rhythmic ‘flam’ effect at the end of the first beat of the first and third bars.