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Slap Bass – Fretting Hand Slaps

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This course will show you how the fretting hand can be used to perform ghost note slaps. Doing so adds an important rhythmic device to the slap bass toolkit, and allows for more complex, syncopated linear slap grooves.

If you require additional help with any of the techniques used in this piece, 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 51 MINUTES long and contains the following videos, each of which can be selected from the video player above:

1. Fretting Hand Slaps (Part 1)

This video introduces the concept of fretting hand slaps and demonstrates how they can be used through two well-known bass grooves.

2. Fretting Hand Slaps (Part 2)

This video will show you how to perform fretting hand slaps. After some basic exercises, the concept will be added into more complex, syncopated lines.

3. With Fretted Notes

Fretting hand slaps can also be played following fretted notes, with a small adjustment to fingering. This is demonstrated in this video.

4. Incorporating Popped Notes

In this lesson, popped notes are added into the mix. These add another layer of complexity, meaning that some very challenging lines are now possible.

5. Exercise #13

This line has fretting hand slaps following both open strings and fretted notes. This is a good example of how fretting hand slaps can be used to add rhythmic interest.

6. Exercise #14

This exercise is a complex line written in the style of the slap grooves that Mark King played on early Level 42 tracks such as ‘Love Games’ and ‘Almost There’.

7. Exercise #15

This exercise is in the key of C minor and features fretting hand slaps following fretted notes. This line also includes some challenging syncopated parts.

8. Exercise #16

This up-tempo exercise is based around a B dominant seventh chord and features some interesting syncopations as well as some lines built on the major pentatonic scale.