Tapping on Bass Guitar Lesson #7
================================
Ian Stephenson
ian@ohm.york.ac.uk
The interval of a fifth, which we considered last time, sounds weak when used
extensively, so this week we'll examine how it can be combined with the fourth
interval we've previously used to produce what is probably the most useful of
all right hand tapping patterns.
Play an A chord at the twelfth fret as usual, then follow it with a fifth
based pattern similar to the one we looked at last time:
-O-
O
--- --- ---
-O- --- -O- ---
--- --- --- ---
__
|--/--\----------O------------O---------
| \ | . #
|-------14-------16-| |---@--|--#-----------------------------
|----14-------14----| | / .
|-12-------12-------| |-----/---------------------------------
|-------------------| | / #
T T T T |---/-----------------------------------
|
|---------------------------------------
Now rather than keeping your fingers straight, play the fifth by hooking your
third finger round behind your middle finger. With practise you should find a
hand position which is a comfortable compromise between the the fourth and
fifth hand positions you've been using previously. By using this hand
position you can smoothly mix both fourths and fifths to provide passing
notes:
/--\
-O-
O O O
--- --- --- ---
-O- --- -O- --- --- -O- ---
--- --- --- --- --- --- ---
__
|--/--\--------O----------------------------
| \ | . #
|---------14----16-14----14-| |---@--|--#---------------------------------
|------14----14-------14----| | / .
|---12----------------------| |-----/-------------------------------------
|---------------------------| | / #
T1 T2 T1 T3 T2 T1 T2 |---/---------------------------------------
|
|-------------------------------------------
The B-A transition is a pull-off. You should be able to remove your third
finger from the string cleanly enough to leave the A ringing, and to provide
a smooth transition between the notes. Make sure your timing is tight on
this example - in particular there should be no delay in shifting between
hand positions. In fact there should be very little hand movement involved
once you've found the correct technique.
This fingering position is VERY important. It crops up everywhere, but its
main uses (in terms of chord construction) are in resolving suspended fourths:
-O-
O
--- ---
-O- --- ---
--- --- ---
__
|--/--\--------------------------------
| \ | . #
|-----------14--16--| |---@--|--#----------------------------
|-------14----------| | / . O
|-------------------| |-----/------#-------------------------
|---12--------------| | / #
T T T |---/----------------------------------
|
|--------------------------------------
Root Fourth
Octave Fifth
And outlining ninth chords:
-O-
O
--- ---
-O- --- ---
--- --- ---
__
|--/--\----------O---------------------
| \ | . #
|-----------14--16--| |---@--|--#----------------------------
|-------14----------| | / .
|---12--------------| |-----/--------------------------------
|-------------------| | / #
T T T |---/----------------------------------
|
|--------------------------------------
Root Octave
Fifth Ninth
Ninth chords are very important on bass, as the large intervals involved
prevent the sound from being muddy, while still providing a complex sound.
I hope to cover them in more detail in a later lesson.
To avoid confusion with fourth and fifth hand positions, I'll probably refer
to this hand position as a ninth position, regardless of the harmonic role
it's playing.
OK, time for the examples.
The first example is a pattern I sometimes use for the middle section of
"Panama" (Van Halen). The section is pretty quiet, and can sometimes drag -
depending on the atmosphere, this riff can pick things up nicely and fill in
the gap.
|-----21----21----23-21---21-|-21----21----23-21----21--|
|o-------21----21-------21---|----21----21-------21-----|
|o----7----------------------|-------------5------------|
|----------------------------|----------------------8---|
\___/ \___
|-----21----21----23-21---21-|-21----21----23-21----21--|
|--------21----21-------21---|----21----21-------21----o|
|----------------------------|-------------5--------8--o|
|-----8----------------------|--------------------------|
___/ \___/ \___
The final example this week is an all time fave of mine - Stu Hamm's "Kings
of Sleep". This makes repeated use of the ninth position, while the left hand
plays the bass line. Note how the same right hand notes play different roles
within the chord depending on the bass note.
This version is written for a standard bass - those with Kubicki's can use
the extender, and drop some of the notes down one octave to be consistant
with the record. Alternatively non-kubicki users could raise everything one
tone.
Repeat
|---14----16-----|----14--------|---14----16---------|---14-------------|
|------14--------|-------14-----|------14------------|------14----------|
|-------------4--|--------------|-5------------7-/9--|-7---------7-9-7--|
|-5--------------|-2------------|--------------------|------------------|
H T T T H | H T T | H T T T H S | P T T H H P |
DC
|---14----16-----|---14--------------|---14----16------|---14-----------|
|------14-----11-|------14--------11-|------14-----11--|------14--------|
|-9--------------|-9--------11-12----|-9---------------|-9--------------|
|----------------|-------------------|-----------------|----------------|
H T T T H | H T T H H H | H T T T H | H T T H H P |
Enjoy...
Ian
LESSON POINTS: Ninth Right Hand Position
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