This course builds on everything that was covered back in the Intermediate Plectrum course. The sixteenth note-based lines that are coverd here are complex and will require a thorough mastery of the concepts covered in the earlier courses.
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This course is 1 HOUR & 34 MINUTES long and contains the following videos, each of which can be selected from the video player above:
This lesson covers silent pick strokes, an important concept when it comes to playing sixteenth note lines that begin on a syncopated part of the beat.
The concept of silent strokes applies when using hammer-ons and pull-offs in your lines as well, as you’ll discover from this lesson.
This is a funk bassline where the main phrase begins on the second sixteenth note of the bar. There are also several hammer-ons used throughout.
This exercise is a simple rock groove in G minor that uses hammer-ons and ghost notes. This line is built on the minor pentatonic scale.
This exercise is a continuous sixteenth note bassline. Hammer-on and pull-off figures are played in each bar, remaining the same even as the bass notes change.
This exercise is a slow rock groove that mixes E Mixolydian and E minor pentatonic sounds. The pull-off phrase in the fourth bar is challenging to play.
This is an up-tempo rock bassline that makes use of hammer-ons. Note that in the fourth bar there are several slides that are performed as slurs.
This exercise is an up-tempo metal groove that is built from the E blues scale. Hammer-ons and pull-offs are a crucial part of this line.
This is a syncopated pop bassline that features a lot of string crossing/skipping. Be sure to keep the first two notes in each bar short, as indicated by the staccato dots.
This exercise uses hammer-ons and pull-offs extensively. There are also slides in the fourth bar: when playing these, remember that only the first note is struck.
This is a slow rock bassline in G minor that is quite simple to play. The fourth bar features a descending two-beat lick that uses the blues scale.
This is a fast metal bassline that makes use of hammer-ons. It also uses the ‘gallop’ rhythm, which is a popular rhythmic device in rock and metal basslines.
This exercise is a complex funk groove written in the style of legendary plectrum players such as Carol Kaye, Anthony Jackson, and Bobby Vega.
This line is a simple rock groove with some syncopated figures played on the third and fourth beats of each bar. The fourth bar features a descending blues scale lick.
In this bassline, the opening phrase outlines a B7 chord via a figure that crosses all four strings. This idea is then used in the second half of the bar to outline an A7 chord.
This is a sixteenth note-based groove that uses ghost notes to add percussive interest. The fourth bar has some sixteenth note triplet figures played as slurs.
This exercise is a pop bassline with a driving groove. The end of each bar is punctuated by some simple descending hammer-on figures.
This exercise is a sixteenth note-based funk groove. Ghost notes are used to maintain a percolating, percussive feel throughout the entire line.
This exercise uses a lot of hammer-ons on typical ‘funk figures’: the sixth to the flattened seventh (A to Bb) and the minor third to major third (Eb to E) for example.
This exercise is heavily syncopated, are features several consecutive upstrokes. Silent downstrokes are required in order to maintain the correct picking sequence.
This exercise is also heavily syncopated. Try to allow the open A-string to ring where possible in this exercise as this will enhance the chordal element of the line.
This longer exercise is a pop bassline containing lots of hyperactive hammer-on/pull-off figures. These are all based on the major pentatonic scale.