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Transcript of · PDF fileCreated Date: 6/24/2013 8:51:13 PM
essenti.alsnrluW,*fopm
ard nurlry BnrrHI Ovu 140 essential
patterns and exercises covering
everyaspect o[ Slap Bass
iII
I
7Z,HAL'Lso^¡ARD'L-lcoFrPoFrA-rroNr7777 W. BLUÉVOUND Ro. PO.Box 13819 MTLWAUKEE. Wl 532t3
Copyright@ 1995 by HAL LEONARD CORPORATTON- Intemational Copyright Secured All Rights Reserved
For all works conta¡ned herein:Urau:ho¡zed copytng, ananging, adapting, recording, or public performance is an infringement of copyright.
Tal¡le of tGontentsPage Audio
Track
INTRODUCTION .......4 1
PREF'ACE
TUNING PITCHES 2-5
SECTIONA,ThumbSlap. .. . . . .6
Part 1 Exercises to develop the thumb slap technique. . . . . . 7Part2 Patterns using the thumb slap technique . . . . 9 6-17
SECTIONB,IndexFingerPop.. ......11
Part 1 Exercises to develop the indexfinger pop technique . . . . . . 12
Part2 Patterns using the indexfinger pop technique . . . . . 14 t8-29
SECTION C, Muted Slap and Muted Pop . . . . . 16
Part 1 Exercises to develop the muted slap and muted pop technique . . . . 17
Part2 Patterns using the the muted slap and muted pop technique. . . . . . 19 30-41
SECTION D, Left Hand Slap . . . .21
Part 1 Exercises to develop the left hand slap technique . . . 22
Part2 Patterns using the left hand slap technique . .23 42-53Part 3 Exercises to develop the left hand slap technique . . . 25
Part 4 Patterns using the left hand slap technique . . 26 54-65
SECTION E, Palm Mute . . 28
Part 1 Exercises to develop the palm mute technique . . . . . 29Part2 Patterns using the palmmute technique . . . . 30 66-71
SECTIONF,ThumbPop. ......31
Part 1 Exercises to develop the thumb pop technique . . . . . 32Part2 Patterns using the thumb pop technique . . . .34 72-77
SECTION G, Index and Middle Finger Slap. . . . 35
Part I Exercises to develop the index and middle finger slap technique. . . . 36
Part2 Patterns using the index and middle finger slap techniques . . . . . . 38 78-83
DRUM BEATS 84-87
lntroclrreü¡(onThere's a kind of gravity among musicians. When two great players get together, the
urge to create is hard to resist. That's the story behind Slap Bass Essentials, a new book/audioinstruction package that examines every aspect of the slap bass technique.
Bunny Brunel, a driving force behind the fusion movement of the '70s and '80s,teams up with bassist, producer, songwriter Josquin des Pres to put together the ultimate slapbass instruction package for bass players at any level.
Bunny has performed and recorded with Herbie Hancock, Chick Corea, WayneShorter, Tony Williams, AI Jarreau, Larry Coryell and Al Di Meota. He is also a producer,arranger and the author of three books; The Complete Book of Bass Essentials, Thecomplete Book of Bass Technique and Bunny Brunel's Bass secrets.
Josquin has recorded over 20 albums sharing credits with such noteworthy players as
Jeff Porcaro, Steve Lukather, Vinnie Colaiuta, Billy Sheehan and many more. He is theauthor of three books, Bass Fitness, (endorsed by Berklee College of Music and world knownbassists), Bach for Bass, and Muted Grooves.
In addition to his career as a bassist, Josquin is also an accomplished producer andsongwriter. His credits include multiple collaborations with Elton John,s legendary lyricistBernie Taupin as well as numerous covers by international artists published by WarnerChappell, EMI Music, SBK Songs, etc.
Prefa(Ec>In this book we have tried to cover thoroughly every aspect of the slap bass style.
Each section examines in depth a specific technique, combining it with thepreceding one. All sections contain comprehensive exercises to develop necessary skills, andpatterns that move through increasing difficulty levels.
The exercises are fairly basic and easy to understand, therefore only the patterns arerecorded in the audio part of this package. Use them as a springboard to create your ownideas. The "audio track number" indicates the location on the recording of a particularpattern.
To develop a good sense of time, always use a metronome or a drum machine. Startslowly (60 to 80 beats per minute) then gradually speed up. You may also use some of thedrum beats we have included at the end of the recording.
We would like to thank all the people who contributed to the recording of the audio:Karl Moet for the Tascam DA 88, Mark Kiesel and Dave Flores for the Carvin "BunnyBrunel" Basses, Richard Cocco for the Labella Strings, Richard Godinez for the ART"Nightbassr" Michael Shortino from Quik Lok Systems, Tlev Wilkinson from WilkinsonUSA, Dave Timmons of Gibson USA, David Williams and Patrice Vigier of VigierGuitars, T[istan des Pres of Sega Interactive, Peter Mavropoulos, Dave Stark, LeeBales and everyone we may have forgotten. All cover and inside photography by PeteDemos at Carvin.
Dedicated to Chloe Nicole Threnne des Pres
Josquin des Pres and Bunny Brunel
Seeüion ATlrr¡rnl¡ SIa¡e (S)
Slap the string with the side of the thumb.
Part I Exercises to deyelop the thumb slap technique
Part2 Patterns using the thumb slap technique
EÍTIÍIIE Exerckes to devetop the thumb stap technique
Exercise I
Exercise 2
Exercise 3
Exercise 4
Exercise 5
Exercise 6
Exercise 7
Exercise 8
Exercise 9
Pattern iO
Patterns using the thumb slap technique
Drumbeat 1 @
Pattern2O Drumbeatl@E
Pattern3 O Drumbeat 2@G
TAAA/iAA ¡
.AA,IAAAA¡
Pattern4 O Drumbeatl@C
a AAA AA,!
.AAAAA 'T{I
Pattern? O Drumbeatl@
PatternS @ Drumbeatl@
Patterng O Drumbeat4Swingieet (J.! =l:i
Dm
Pattern l0 O Drumtreat 4 §,
Pattern ll O Drumbeat I @
Pattern L
l0
2oE
Drumbeat 1 @
Seetion Blnclex Fin§Jer Pop (P)
finger by pulling it up then releasing it so that it rebounds
Part 1 Exercises to develop the indexfinger pop technique
Part 2 Patterns using the indexfinger pop technique
11
Exercise 1
Exercise 2
Exercise 3
3PSPSPSPSPSP
3SPSPSPSPSPSP
Exercise 4
Exercise 5
Exercise 6
tl
Exercise 7
3SP
3SP
Exercise 8
Exercise 9
13
Pattern L
Patterns combining the index finger pop and the thumb slap techniques
t"O Drumbeat 1@
Pattern rá O Drúmbeat l @
Pattern 16G
O Drumbeat 1 @
Patternfi @^ Drumbeatl@AV
Pattern r§p Drumbeat I @
14
Drumbeat, @ ,
SPS
Pattern 20 @ Drumbeat L @
Pattern 21 @ Drumbeat 1 @
Pattern 22 O Drumbeat I @
S PSP S P
na§
Pattern 24 @ Drumbeat 1@
r5
Secti(on GlUlr¡tecf Sla¡e (It lS) ancl
n fr¡tecl Pop (IUf P)
Lay the left hand across the strings without depressing them to the fretboard whileslapping or popping.
Part I Exercises to develop the muted slap and muted pop techniques
Part 2 Patterns using the muted slap and muted pop techniques
l6
rriIiIÍIfiIExercise 1
Exercises combining the muted slap and muted pop, withthe index finger pop and the thumb slnp techniques
Exercise 2
Exercise 3
3MS MP MS MP MS MP MS MP MS MP MS MP
3MS MP MS MP MS MP MS MP MS MP
3
MS MP
t7
Exercise 7
Exercise 8
Exercise 9
1E
Patterns combining the muted slap and muted pop, withthe index finger pop and the thumb slap techniques
Pattern ,j O Drumbeat 2 (OFTAAAA^AA/IT
Pattern 26 O Drumbeat I @
Pattern 27 @ Drumbeat 1@
Pattern29 Drumtreat 4
Swing r""r tIl =J')l
t9
Pattern r"r_@ Drumbeat 2 @
Pattern 1O
Drumbeat, @ .r_
Pattern 35 @ Drumbeat 1 @
P MSP
Pattern rf O Drumbeat 2 <O
P MSP
PMSSPMSMPSPMSS
P MS S P MSMP S P MS S P
P MSP P MSMP S P MSMP
Pattern 33 @ Drumbeat 1 @
P MS S P JtfS}fP S P MS S
Pattern 3J O Drumbeat 1 @
P MS S P MSMP S P\fS P
20
S PMSPMSPMSMPS MPS MPS S PMSPMSPMSMPS MP S MPS
Secüion DLeft llancl Sla¡o (I-S)
Slap the string with the left hand.
Part 1
Part 2
Part 3
Part 4
Exercises to develop the lefi hand slap technique
Patterns using the left hand slap technique
Exercises to develop the left hand slap technique
Patterns using the left hand slap technique
2t
Eilli'ÍI\lTf Exercises combining the teft hand slap and the thumb stap techniques
Exercise 1
Exercise 2
Exercise 3
Exercise 4
Exercise 5
Exercise 6
))
fil ilfn :fi'ff ,íl#;W tk!;#l:!' stap, the inde x nng er p op
Pattern 37 @ Drumbeat I @
Pattern 33 @ Drumbeat I @
Pattern 39 @ Drumbeat 1@
40@Em
1@Em
Drumbeat L @
Drumbeat 1@
Pattern
Pattern 4
SLSS LSSLSS
SLSS LSSLSS
LSSLSS
SLSS LSSLSS
SLSS
DEmTAA AA/t
23
Pattern6@ Drumbeatl@
LSSLSSLSS SLSSLSSLSS
Pattern 44 @ Drumbeat 3 @Em
-3-
Pattern 45 @ Drumbeat 3
Em3----r r 3 -
LSSLSS LSSLSS LSSLSS
-3--- r-3---¡r3-t
SLSSLSS
-3'--
Gr 3 ----r
- 3 ---r
46oEm
Drumbeat 3 @
SLSS
SLSSLSSLSS SLSSLSSLSP
Pattern 48 O Drumbeat 1@
u
Exercises combining,the left hand slap, muted slap and muted pop,index finger pop and the thumb slap techniques
Exercise I
Exercise 2
Exercise 3
Exercise 4
Exercise 6
PSLSS
SLS LSS PSLSSP
MPSLSS MPSLSS
S LS SMPLSS
Exercise 5
SLS SLSSPSLSSP S LS S LS S LS SMP S LS SMP
25
partern.Bp
Patterns combining the left hand slap, muted slap and muted pop,index finger pop and the thumb slap techniques
Drumbeat Z @ §IAAAAAA.*,+ -x- '-
Pattern tsp Drumbeat 2 @
S LSMS P MP S t¡¡l¡¡¡¡¡ S LSMS P s r.MP s r.MP
S PMSSPMSMPS PMSSP
P MS S P MSMP S
Pattern 5l @ Drumbeat 1 @
LSSLSS
Pattern 54Em
Pattern 52 @ Drumbeat I @
LSSLSS
Pattern;r_q »rumbeat 1 @
@
PMSMPS PMSP S
26
Drumbeat 1@
Pattern 55 @ Drumbeat 2 @
Pattern tÍOP Drumbeat 1 @
P MS S P MSMPS
Pattern 57C
Pattern 58A
@ Drumbeat, @o*
\PS\P
om
Drumbeat 3 @
66MPS MPS MPS MPS LS S LS S S
LSSLSSLSS
LSSLSS
LSSLSS
s Ls s- ,". P S
66
LSSLSS
Pattern 59 @ Drumbeat 2 @
MP S PS.AAAA'
S PSa§§t^a
Pattern 60 @ Drumbeat 1@
MPS MPS MPS MPS P^PS
27
Siection EPalrn lUlr¡te (PIt l)
Partially mute the strings with the palm of your right hand.
Part I Exercises to develop the palm mute technique
Part 2 Patterns using the palm mute technique
a
EfffrfnExercise 1
Exercises combining-tle pglm 1nute, mated slap and muted pop,index finger pop and the thumb slap techniques
Exercise 2
Exercise 3
S PMMSPM
PMSSPMSPM
S P MSPMSPMS PM
S P MS S PM MSPM
S PMMSPM
PMSSPMSPM
S P MSPM S PMS PM
S P MS S PMMSPM
Exercise 4
Exercise 5
Exercise 6
S P MSPM S MPS S P MSPM S MP S
29
laltern; combining üg pr!* ryutlt muted slap and muted pop,indexftnger pop and the thumb slap techniqies
Pattern 61 @ Drumbeat 1 @
S PPM S PPM PS LS S LS S S PPM S PPMP
Pattern 62 @ Drumbeat 1@
S PPM
Pattern.S@ Drumbeatl@
PMSS PPV
Pattern 64 @ Drumbeat 1@
P MS PMMS P
s PMMspMMspMMspMMSp s'
S PPM S PPM
PMSS
S PPM
S PMMSPMMSPMS P
S PPM S PPM
PMSSPPMMSP MSP
MS PMMS P
Pattern 65 @ Drumbeat 1@
36S: P S ¡ P S ¡ P
Pattern 66 O Drumbeat 1@
Section FThr¡rrrb Pop (TP)
Pop the string with the thumb by pulling it up then releasing it so that it reboundsagainst the fretboard.
Part I Exercises to develop the thumb pop technique
Part 2 Patterns using the thumb pop technique
3l
EimÍTIlTt Exercises combining the thumb pop and the thumb slap techniques
Exercise 1
33-TPSTPSTPSTPSTPSTP
3TPSTPSTPSTPSTP STP
Exercise 3
Exercise 2
Exercise 4
Exercise 5
STPSTP
Exercise 6
32
Exercise 7
Exercise 8
Exercise 9
TPSTPS
TPSTPS
TPSTPS
TP S TPS
33
Pattern i@
Patterns combing the thumb pop, index finger pop and thumb slap techniques
Drumbeat 2 lO
Pattern Xt*@
Drumbeat I @
Pattern 70 @ Drumtreat 2
s-\ P s
Cttt! Am¡¡,¡1,¡¡,¡!
s\ P s TPS SI,tA,§
PS
Patternl[@ Drumbeatl@
Pattern T^O Drumbeat 1 @
STPSTPSTPSTPSTPSTP
31
TPMS S TP MS MPS TPMS S TP S
Seeti(r»n G¡
lnclex (fF) anclM¡GIctIe FingJer (ItlIF) SlaP
Slap the string with the index or middle finger.
Part 1 Exercises to develop the index and middle finger slap technique
Part 2 Patterns using the index and middle finger slap technique
35
ffimÍIilTtExercise 1
Exercises combining the indexfinger slap and middle ftnger slap,muted slap and muted pop, index pop and thumb slap techniquei
Exercise 2
Exercise 3
Exercise 4
Exercise 5
Exercise 6
36
Exercise 7
Exercise 8
Exercise 9
MF MF IF MF IF MF MF MF IF MF
MF IF MF
MF IF MF MF IF MF
MF MF IF MF IF MF MF MF IF MF
MF IF MF MF MF
MF IF MF MF IF MF
37
Patterys-combining the index ftnger slap and middle finger slap,muted slap and muted pop, index pop and thumb slap teóhniqiós
Pattern ,ip Drumbeat 1 @
Pattern ,i@ Drumbeat 1 @
Pattern 76A
Pattern ,:P Drumbeat I @
Pattern 78 @ Drumbeat 1 @Am
3E