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    Joe Santerre - Slap Bass Lines

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    Jorge Carriel
    Slap bass technique book by Joe Santerre. Slap techniques labeled as follows: T X U S H P L Thumb attack Dead note. Pull attacks should not be louder or more intense than thumb attacks. Only the first note of a slurred group is articulated with the right hand.

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    Joe Santerre - Slap Bass Lines

    Uploaded by

    Jorge Carriel
    2K views7 pages
    Slap bass technique book by Joe Santerre. Slap techniques labeled as follows: T X U S H P L Thumb attack Dead note. Pull attacks should not be louder or more intense than thumb attacks. Only the first note of a slurred group is articulated with the right hand.

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    Slap bass technique book by Joe Santerre. Slap techniques labeled as follows: T X U S H P L Thumb attack Dead note. Pull attacks should not be louder or more intense than thumb attacks. Only the first note of a slurred group is articulated with the right hand.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    2K views7 pages

    Joe Santerre - Slap Bass Lines

    Uploaded by

    Jorge Carriel
    Slap bass technique book by Joe Santerre. Slap techniques labeled as follows: T X U S H P L Thumb attack Dead note. Pull attacks should not be louder or more intense than thumb attacks. Only the first note of a slurred group is articulated with the right hand.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 7

    FREE music lessons from Berklee College of Music

    Slap Bass Lines Joe Santerre Slap Technique Lesson 1

    Click CD icons to listen to CD tracks from book. Press ESC to cancel sound.

    Check out Berkleeshares.com for more lessons just like this one.

    2003 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

    Slap Technique
    This book will help you develop your slap technique. These suggestions will help you maintain an even overall sound: 1. 2. 3. 4. 5. Be precise with thumb attacks. Only hit the string you want to sound. Muting strings is critical. Muted thumb attacks should be struck with the same intensity as sounded notes. Pull attacks should not be louder or more intense than thumb attacks.

    In this book, slap techniques are labeled as follows: T X U S H P L Thumb attack Dead note (String attacked as indicated, but not allowed to ring. These are notated using the open string on which they are attacked.) Thumb-up stroke (thumb pulls up from under the string) Slide Hammer on (no attack with slapping hand) Pull string with first or second finger Lift finger from previous note to the note with the L above it

    Slurs show when notes are sounded without a right-hand attack, as in hammers, slides, and lifts. Only the first note of a slurred group is articulated with the right hand.

    xiv

    LESSON 1: ONE-CHORD SLAP GROOVES


    These examples are basic slap grooves. Listen closely to your attacks and your overall sound. One of the most challenging aspects of playing slap bass is maintaining an even, full, clear sound. Of course, you can do some experimenting with the sound by adjusting the control knobs on your bass and your amp, but a good sound always starts with your hands. This lesson will use eighth-note grooves, focusing on the root and octave of the given chord. To twice. layed hear more of this type of bass playing, listen to artists such as Sly & the Family Stone and Larry Graham.

    THUMB, PULL, AND MUTED NOTES


    T Thumb slap. Use a down-stroke attack with your thumb. These are generally the lower notes of a slap-bass line. Pull. Use your index finger to pull up on the string and sound the note. Pulled notes are generally the higher notes of the slap line. Muted. Use your left hand to mute or choke the note. These are notated on any of the open strings. You can play a muted note with regular fingering, or with a thumb slap, pull, or hammer. P

    1 Example 1
    Tuning Notes: E, A, D, and G strings, each played twice.

    2 Example 2
    E7
    T T P T T P P P T P P T

    2 0 0 0 0

    2 0

    2 0

    lesson 1 one-chord slap grooves


    3 Example 3
    E7
    T T T T T T T T T T T T

    4 Example 4
    G7sus4
    T P T T T P T T T P T T T P T T

    5 3 X 3 3

    5 X 3 3

    5 X 0 3

    5 X 3

    5 Example 5
    F
    T T P T T P T T T P T T P T T P

    3 1 1 1 1

    3 1 1 1

    3 1 1

    3 1 1

    6 Example 6
    E
    T T T T T P T T T T T T P T T T

    9 0 0 0 0 7 X X 0 0 0 0

    9 7 X X

    lesson 1 one-chord slap grooves


    7 Example 7
    G7
    T T P T T T T P T T T P

    5 3 3 X X 3 3

    5 X X 3

    8 Example 8
    C6
    T P T T T P T T T T P T T T

    5 3 3 3 3

    5 X 3 X 3

    5 X 3 3

    9 Example 9
    Hammer on the muted notes in this example.

    D7sus4/E
    T H T H T H T T H T H T H T P T

    9 0 X 0 X 0 X X 0 X 0 X 0 X X 7

    9 0 X 0 X 0 X X 0 X 0 X 0 X X 7

    lesson 1 one-chord slap grooves WRITE YOUR OWN


    In the following blank measures, write your own bass grooves for the chord indicated. Remember, the goal is to outline the chord; start with the root, fifth, and octave. Model your own rhythms after those used in the examples.

    1.
    E7

    2.
    D7

    3.
    G7

    4.
    A7

    lesson 1 one-chord slap grooves


    10 Song 1

    EASY DOES IT
    E7
    T T P T T P P P T P P T T T P T T P

    2 0 0 0 0

    2 0

    2 0 0 0

    2 0 0

    2 0

    2 0 0 0

    2 0 0

    2 0

    2 0

    C
    T T P T P T T T T P T T P T T T T T P T P T T T

    5 3 3 3

    5 3 X X 3

    5 3 3

    5 3 X X 3 3

    5 3

    5 3 X X

    5 3 3 3

    5 3 X X 3 3

    5 3

    5 3 X X 3

    5 3 3

    5 3 X X

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