Lesson #1 - A New Way Of Practicing Scales

Are you struggling to learn the names of the notes on the fingerboard?

1) Pick a key this can be either major or minor, you will need to practice all 24 keys equally, but start with the 12 majors first.
2) We will start with the key of C major. The scale notes are:  C, D, E, F, G, A, B ( note there are no sharps (#)  or flats (b) in the key of C major.
3) When practicing these scales we will be starting on the lowest note possible on the bass ( E on a four string, B on a five string) you will be playing these scales all the way up to the highest note on your instrument, depending on how many frets you have, I have a Fender Jazz so my highest note is a D# or Eb.
4) Let's play the scale of C major Starting on the lowest note on the bass that belongs to the key of C major. This is in fact the open E string on my Jazz Bass.
5) My next note in the scale of C major to play is an F on the first fret on the E string,then G on the 3rd fret etc.
6) Continue playing the C scale up the fingerboard, it doesn't matter which frets you play the scale notes, so long as the are ascending by step and they are the scale notes!
7) Now the important bit! As you are playing each note, say out aloud the notes you are playing, this makes your brain register that you are playing a note letter name and not just a fingerboard pattern.
Remember, the fact you have started your Cmajor scale on an E ( the 3rd degree of C major) will  discourage you from using your ears to feel around for the scale notes.

Bass Lesson #2 - Slap That Bass!

"Slap Bass, it's cool and everybody wants to play it" - Stuart Hamm (Slap, Pop & Tap)

Introduction

I remember back in 1984, showing up for my weekly bass lesson clutching a copy of "A Physical Presence" by the Level 42. Unfortunately I was soon to learn that my bass teacher couldn't teach me slap. Shortly after, salvation came in the form of BBC's Rock School series (the novice generation of bassists in the UK need a current modern day equivalent). Henry Thomas was the bassist presenting the slap technique with clips from Larry Graham and Bootsy Collins. From this program I got a brief insight (no VCR and it was over in a flash) into how to approach the style. The major bulk of my slap education came from SIMPLY listening and copying parts Level 42, Stanley Clarke and Marcus Miller records. By listening I experimented with various arm and thumb positions then later refined my technique by watching Level 42 pop videos!

I hope this page will serve as a guide to learning slap bass without the aid of a teacher!! Other things you will need to execute this style are listed at the bottom (resources), as well as patience and persistence.

 

History/ background of slap

In the 1940's and 50's, before the popularity of the Fender bass, the term "Slap Bass" was referred to the way rock and roll upright bass players would the slap the strings towards the fingerboard on the off beats of the 4 in a bar (walking bass line). Listen to the Stray Cats as an example.

On the Fender bass/ Or bass guitar a similar percussive style was pioneered in the late 60's by Larry Graham of Sly And The Family Stone and later Graham Central Station. Larry's Style was developed almost by accident, pre - Sly Stone Larry used to perform duo gigs with his mother. She would play the organ, Larry on bass, the absence of a drummer inspired Larry to "Thump" the bass notes and dampened strings almost like a kick drum, and "pick" octave notes on the D and G strings to emulate a snare back beat.

At a similar time in the UK, Who bassist John Entwhistle was achieving a similar sound by striking or thumping the strings with his fingers, just over the end of the fingerboard. Through the popularity of Slay And The Family Stone It wasn't long before other bassists including Stanley Clarke and Chuck Rainey began the reinterpret Larry Grahams style in their own playing.

 

Slap, Thump, Pull, and Pluck

Before you learn to play slap bass, it is important that you observe and listen to the various styles and techniques associate with different styles of music.

I initially drawn towards playing slap bass in the Mid 80's. At the time the Slap bass giants were Level 42's Mark King, Stanley Clarke and Marcus Miller. All three players were obtaining a similar Graham sound, but with slight differences in technique and application. The original terminology given to the style by Larry Graham was Thump (thumb) and Pick (under string twang with index/middle finger) Other bassists like Mark King would describe the style as Slap (thumb) and Pull (under string twang with index/ middle finger).

The table below describes and categories the more prominent Slap styles associated with the most world renowned Slappers!! . Points and variants to consider are listed in the middle column.

The notable variants are: Strap length or instrument height -- Right arm angle -- thumb angle -- String gauge -- Bass brand or more importantly pick up configuration -- Attack

 

 

Slap and Basses

Obviously various brand of instruments and number of strings give you varying sounds. The classic Larry Graham sound is obtain on the Fender Jazz bass. The critical feature to consider when searching for the ultimate slap sound relies heavily on the bass pick-up types and where they are positioned on the instrument. The list below indicates the above players choice.

(J/J) - Two Fender Jazz style pick up configuration. (P/J) - one Fender Jazz pick up at bridge position and one split Fender Precision style bass pick up and position. (MM) - One single Humbucking Music Man Stingray bass pick up and "sweet spot"position. (HM) -two hum-bucking pick ups in Fender Jazz style positions.

Other points - Avoid, hollow or semi hollow body instruments (Hofner Violin Bass). Basses without a pick up at the bridge, basses with one pick up (Fender P bass) UNLESS it is situated on the "sweet spot" e.g.. Music Man Stingray.

Basses with larger bodies and active circuits usually have a "bigger" sound. e.g. active Fender Jazz.

Basses with Maple Fingerboards often sound brighter.

Amplification

As part of your quest to seek the ultimate slap sound, select amplification with enough power (100w +) in order to be loud and clean enough to be heard over the acoustic drum kit.

Select a bass speaker system that can produce a full range sound. e.g.. a cabinet which is loaded with various driver sizes and a tweeter /horn, a typical example would be 15" (lows, low mids) , 4x10 (lows & mids) with a high frequency horn.

Regarding EQ - I prefer to cut my high mids and add plenty of lows to my sound. I also use compression to "smooth out" the tone

My Set Up

77 Fender Jazz reissue (Jap Custom) -- SWR SM400 amplifier -- SWR Goliath Speaker Cabinet -- Electro Harmonix Black Finger Compressor -- Various brand strings gauge from .45 (La bella Slappers, GHS Boomers (both hard to get here in UK) and Elites.

 

Resources

See Recommended Recordings