EXTREME SLAP BASS - A DICTIONARY OF GROOVES BY JOHN M. SHAUGHNESSY II 2001 JOHN M. SHAUGHNESSY II

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1 EXTREME SLA BASS - A DITIONARY OF GROOVES BY JON M. SAUGNESSY II 2001 JON M. SAUGNESSY II

2 FORWARD Welcome o he firs ediion of Exreme Slap Bass! This book is he resul of wo years of work. When I originally sared, I had no idea how large he finished produc would urn ou o be (The original manuscrip is over 0 pages long, and conained 2 Ds of examples!). For ha reason, I have chosen o release i on D-ROM. The D conains he book (in DF Forma) wih 17 examples (in boh sandard noaion and Tab), as well as he audio examples in M Forma. You will need he Adobe Acroba reader o view he examples (available as a free download from many sies ry hp://home.cne.com). You will also need an audio player capable of playing M files (mos players already suppor his forma). In 1 years of eaching bass, I would say ha he number one reques from sudens is o Show me how o do ha slap suff. I go ired of wriing he same examples over and over, so I decided o collec my favorie licks and echniques in one book. My approach is a lile differen from oher mehod books, however. Insead of los of alking and a few examples, I have chosen o presen a lo of variaions on basic echniques and scales. For you ex-drummers, you will noice ha he organizaion is similar o a drum mehod book (I consider slap bass o be a form of melodic drumming, bu ha discussion is for anoher book). Because I have kep he dialog o a minimum, I would no consider his a book for beginners; you should have some idea of basic slap echnique (There are many excellen books, videos and insrucors ou here ha can show you he basics). Also, his is no he las word on slap bass playing. There are as many differen syles as here are bass players. I grew up lisening o he players of he 70 s/80 s, so my syle ends o reflec ha. If you don like somehing, feel free o change i o fi your syle. One more hing: Alhough you may seal hese riffs for your personal use (I go los more), The maerial on he D is copyrighed and may no be reproduced wihou permission. Any quesions, commens, ypos, ec. may be repored o me a johngoogleplex@carolina.rr.com Tha s i! ave fun gein your groove on!

3 OW TO USE TIS BOOK You can hink of his book as a dicionary ha you can use o creae your own basslines. There is no righ way o do i you can go hrough a page a a ime, or skip around and pracice he examples ha grab you i s up o you. Also, ry changing keys, empos, and shifing he bea around say, saring an example on a pickup insead of a downbea, or bea 2 insead of bea one. The possibiliies are endless! Alhough his book was wrien for four sring bass,,6 and 7 sring players can move he examples up or down a sring as needed. The audio examples are recorded in groups of 10 (1-10, ec.). There is a click rack in he righ channel, which can be removed by urning down he volume. Also he examples are recorded as daa, so hey will no play in many home sereo sysems. The Tab examples are in sandard (EADG) uning, and he special symbols I have used are explained in he able of symbols ahead. Finally, if anyone is hinking of sampling hese riffs for heir own composiions, remember his maerial is copyrighed (please me for permission firs). Be advised ha here is some bleed-hrough of he click rack ino he bass racks as well.

4 I have organized he examples in his book ino eigh secions, each of which represens an elemen of slap bass echnique: Secion 1: Ocaves - Ocaves are he hear of slap-and-pop echnique. You can creae an infinie number of ideas from a single ocave by varying he rhyhm, empo, and R.. humb/pop combinaions. The examples here show some commonly used rhyhms and ideas. Secion 2: ammer on/ull off - ammer ons and pull offs are produced and conrolled by he lef hand. Srong fingers will help o conrol he speed and inensiy ( Tip: pull down a lile when releasing a pull off o keep i going). The examples feaure many differen combinaions, including cross-sring hammering, rills, and open sring pedals. Secion : Rhyhm aerns - This secion conains many common paerns and echniques ha I find useful in my own playing. These paerns can be mixed wih any of he oher elemens presened here o creae endless possibiliies. Some of he echniques presened are he lef hand choke, use of he lef hand humb o fre noes, single sring slap/pop, and paradiddles (a syncopaed paern used by drummers ha I have adaped for bass. Ex feaure his paern.). Secion 4: enaonic Scales enaonic Scales are probably he mos widely used scales in slap bass playing. They are easy o play, work well in many musical siuaions, and are ideal for use wih hammer ons and pull offs. The hree penaonic ypes used here are he minor (,Eb,F,G,Bb), major (,D,E,G,A,), and blues -a penaonic minor scale wih an added chromaic noe (,Eb,F,F#,G,Bb). Secion : Dorian and Mixolydian Modes These scales are TE sound of Funk bass playing. Lisen o songs such as Fire by he Ohio layers, We wan he Funk by arliamen or Around he World by he Red o hili eppers and you ll hear hese scales in acion. Noe ha he Dorian (,D,Eb,F,G,A,Bb,) and he Mixolydian (,D,E,F,G,A,Bb,) are idenical excep for he hird noe; hey are ofen used ogeher in he same riff, as well as combined wih he enaonic minor and Blues scales. Secion 6: Dominan 7 h - Dominan 7 h chords (,E,G,Bb = 7) are easily idenified by he dissonan sound of he hird and sevenh noes (In a 7, hese would be E and Bb.), also called he rione. Many of he riffs in his secion make use of his rione hrough double-sops (wo noes played a once), and arpeggios (chord noes ha are played one a a ime). Secion 7: Naural and armonic Minor Scales These scales became popular in slap bass playing in he 1980 s, and are used in many R&B and Gospel unes oday. These scales are idenical wih he excepion of he sevenh noe, which is raised a half sep in he armonic Minor (Naural Minor:,D,Eb,F,G,Ab,Bb,; armonic Minor:,D,Eb,F,G,Ab,B,). Secion 8: hord rogressions Alhough a horough discussion of harmony is beyond he scope of his book, I have presened some of he common chord progressions used wih slap bass playing. These progressions end o cycle; ha is, hey repea he same sequence of chords over and over again in he une.

5 Table of Symbols Å ammer-on: ull off: Slap (Thumb): T T T T op: â (These symbols are displayed on op saff only) Lef and Thumb (when freing noes): Mued (Ghos) Noes: Å N N ( )indicaes fre number of mued noe 7 7 Lef and hoke: T N T N N N S or S S Slide: or S T T Repea (number of Fingersyle (No Slap/op): imes): (4 X) Å ich Bend: 1/2 Double Repea ( repea previous wo measures) é (FS) 1/2 é Shaughnessy-iii

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