Chords for Free Beginner Slap Bass Video Lesson
Tempo:
108 bpm
Chords used:
A
D
Ab
E
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hello, this is George Erbacek of Bass Lessons Online, available through the website creativebasslessons.com
with a lesson for the beginner slap bass player.
Now, although there are virtually thousands of lessons out there for beginner slap bass playing,
I've decided to create this one anyway, based on lots and lots of subscriber requests.
So people have been requesting that I do a lesson or two on slap bass playing in my particular style.
Not my particular playing style, but my teaching style.
So here we go, here's the beginner slap bass lesson.
As with a lot of my beginner lessons, I'll just address the one hand at a time approach first of all.
So we'll look at the actual slapping hand, which in this case, in my case, is the right hand.
So we'll look at a couple of issues.
First of all, you need to get your wrist in a straight as possible position.
So not like this, and not like that, and not like that, and not like that.
So keep it straight, loose, comfortable so it's flexible.
And then essentially what you're doing with the slapping and popping is that you're twisting the wrist,
but very lightly twisting the wrist.
Another thing you may notice is I keep my fingers curled inwards, not out like that.
You can do this test if you go like this, if you keep your fingers sort of straight out, fanned out,
you're actually putting a lot of weight to your fingertips where you don't need them.
If you go like this, the weight of the hand is actually more over the thumb and the wrist where you need it.
So that's important.
That's the one reason that's important.
The other reason is when you're popping, of course, the fingers are already in place to pop the strings,
whereas if you go like that, well, they're nowhere near the strings.
So that's a really good starting position.
As you see, to begin with, I keep my thumb sort of pointed upwards, but that's only if I'm going to strike the E string.
Once I strike the A and the D and the G strings even, the thumb has to be a lot more parallel to the strings.
Speaking of parallel, also the arm is more parallel than the [N] usual playing position.
So instead of up like that, you basically just drop your arm, drop your shoulder, drop the elbow, so the arm is more parallel.
So I'll start out first of all by just muting the strings with my left hand.
So we're looking at pure rhythm first, rather than notes.
The important thing is once you are on the string, you've got to bounce off as quickly as possible.
So it's almost like a reflex action, as if you're getting an electric shock.
Quickly get away from that.
So it's like that.
So don't stay on the string.
As soon as you stay on the string, what you're getting is virtually nothing.
You're dulling or deadening or muting the string.
So you've got to jump off [E] quickly.
So actually making the string truly vibrate and [N] ring for a long, long time.
So that's really important.
Probably the best place to actually hit the string is with just the protrusion or the first joint of the thumb.
That's the boniest part and that'll give you the clearest sound, I guess.
So let's have a look at first of all just doing muted hits on the E string.
Then you can go to the A string.
Try to do the same there.
So this is important to try to get the aim right.
And the G again.
And then back down again.
So that's the first thing, just try to do that.
Just doubling up the rhythm, etc.
You can do a lot of these exercises away from the bass.
I used to do it a lot, still do it, on shopping trolleys, on my car roof, etc.
Many, many places.
On my knee, I like to do that on my knee just to get that thumb and wrist movement nice and loose.
So what I'm doing here, there are two main thumb slap techniques.
What I'm doing essentially is I'm bouncing off the string quickly.
So that's the first one I recommend.
The next one is [Ab] actually follow through.
See how I'm following through and resting on the neighboring string.
So that can go for all strings too.
So that works quite well as well.
That'll be very helpful for when you want to eventually pluck upwards.
[C] So the first thing is just that, getting the thumb and the aim right.
So you're actually aiming between [Ab] the strings, especially to get that A string, D string, G string in that case.
OK, for the pop, the pop is quite simple.
You'll see I'm actually slapping at the end of the fingerboard, virtually in the last [N] fret.
So the thumb should be in the last fret.
That enables the first finger to just pop.
So you pull the string outwards, downwards.
So not straight out, but sort of as if you're going to the floor, you're flicking the wrist.
See how the wrist twists.
And you can use the first or second finger.
I tend to use both.
I started out using first, but now I also use a second finger, especially for the G string popping.
So you've got that [E] flick motion.
So for example, if you were [C] to simulate octaves, [N] let's say the E string and the D string, so string sets like that.
And then the A, sorry, E string and D string, and then the A string and G string, you'd go like this.
G, E, E, E, E, E, and then A, G, A, G, A, G.
See how it takes a while to actually get the aim really accurate.
So that's the first thing you can do.
And then you can double that up to go, etc.
So that's a really, really good beginner exercise to do.
Once you've got that okay, then you can start to actually hold notes.
So like, for example, [A] hold octaves.
[D]
[A] [D]
[A] [D]
[A] [Ab] [A] And just [F] add other notes as you go along.
So the initial thing is just [A] getting those strings to vibrate as you are fretting the strings as well.
That's really important.
You've got to press hard.
You've got to [E] snap back quickly.
That's [Db] the important thing.
Again, if you leave your thumb there, see, nothing happens.
You just get dull.
[A] So bounce off the [D] string quickly.
Push hard with your fretting hand.
[G] And then you'll be well and truly on your way.
Remember to keep your right hand fingers [Gm] arched.
[Ab] And keep the hand at the end of the fingerboard because that's where the strings are most loose.
The further you go back towards the bridge, they're really tight there and really hard to move.
So that's pretty much [D] it.
Have fun with that first slap lesson.
See how you go.
with a lesson for the beginner slap bass player.
Now, although there are virtually thousands of lessons out there for beginner slap bass playing,
I've decided to create this one anyway, based on lots and lots of subscriber requests.
So people have been requesting that I do a lesson or two on slap bass playing in my particular style.
Not my particular playing style, but my teaching style.
So here we go, here's the beginner slap bass lesson.
As with a lot of my beginner lessons, I'll just address the one hand at a time approach first of all.
So we'll look at the actual slapping hand, which in this case, in my case, is the right hand.
So we'll look at a couple of issues.
First of all, you need to get your wrist in a straight as possible position.
So not like this, and not like that, and not like that, and not like that.
So keep it straight, loose, comfortable so it's flexible.
And then essentially what you're doing with the slapping and popping is that you're twisting the wrist,
but very lightly twisting the wrist.
Another thing you may notice is I keep my fingers curled inwards, not out like that.
You can do this test if you go like this, if you keep your fingers sort of straight out, fanned out,
you're actually putting a lot of weight to your fingertips where you don't need them.
If you go like this, the weight of the hand is actually more over the thumb and the wrist where you need it.
So that's important.
That's the one reason that's important.
The other reason is when you're popping, of course, the fingers are already in place to pop the strings,
whereas if you go like that, well, they're nowhere near the strings.
So that's a really good starting position.
As you see, to begin with, I keep my thumb sort of pointed upwards, but that's only if I'm going to strike the E string.
Once I strike the A and the D and the G strings even, the thumb has to be a lot more parallel to the strings.
Speaking of parallel, also the arm is more parallel than the [N] usual playing position.
So instead of up like that, you basically just drop your arm, drop your shoulder, drop the elbow, so the arm is more parallel.
So I'll start out first of all by just muting the strings with my left hand.
So we're looking at pure rhythm first, rather than notes.
The important thing is once you are on the string, you've got to bounce off as quickly as possible.
So it's almost like a reflex action, as if you're getting an electric shock.
Quickly get away from that.
So it's like that.
So don't stay on the string.
As soon as you stay on the string, what you're getting is virtually nothing.
You're dulling or deadening or muting the string.
So you've got to jump off [E] quickly.
So actually making the string truly vibrate and [N] ring for a long, long time.
So that's really important.
Probably the best place to actually hit the string is with just the protrusion or the first joint of the thumb.
That's the boniest part and that'll give you the clearest sound, I guess.
So let's have a look at first of all just doing muted hits on the E string.
Then you can go to the A string.
Try to do the same there.
So this is important to try to get the aim right.
And the G again.
And then back down again.
So that's the first thing, just try to do that.
Just doubling up the rhythm, etc.
You can do a lot of these exercises away from the bass.
I used to do it a lot, still do it, on shopping trolleys, on my car roof, etc.
Many, many places.
On my knee, I like to do that on my knee just to get that thumb and wrist movement nice and loose.
So what I'm doing here, there are two main thumb slap techniques.
What I'm doing essentially is I'm bouncing off the string quickly.
So that's the first one I recommend.
The next one is [Ab] actually follow through.
See how I'm following through and resting on the neighboring string.
So that can go for all strings too.
So that works quite well as well.
That'll be very helpful for when you want to eventually pluck upwards.
[C] So the first thing is just that, getting the thumb and the aim right.
So you're actually aiming between [Ab] the strings, especially to get that A string, D string, G string in that case.
OK, for the pop, the pop is quite simple.
You'll see I'm actually slapping at the end of the fingerboard, virtually in the last [N] fret.
So the thumb should be in the last fret.
That enables the first finger to just pop.
So you pull the string outwards, downwards.
So not straight out, but sort of as if you're going to the floor, you're flicking the wrist.
See how the wrist twists.
And you can use the first or second finger.
I tend to use both.
I started out using first, but now I also use a second finger, especially for the G string popping.
So you've got that [E] flick motion.
So for example, if you were [C] to simulate octaves, [N] let's say the E string and the D string, so string sets like that.
And then the A, sorry, E string and D string, and then the A string and G string, you'd go like this.
G, E, E, E, E, E, and then A, G, A, G, A, G.
See how it takes a while to actually get the aim really accurate.
So that's the first thing you can do.
And then you can double that up to go, etc.
So that's a really, really good beginner exercise to do.
Once you've got that okay, then you can start to actually hold notes.
So like, for example, [A] hold octaves.
[D]
[A] [D]
[A] [D]
[A] [Ab] [A] And just [F] add other notes as you go along.
So the initial thing is just [A] getting those strings to vibrate as you are fretting the strings as well.
That's really important.
You've got to press hard.
You've got to [E] snap back quickly.
That's [Db] the important thing.
Again, if you leave your thumb there, see, nothing happens.
You just get dull.
[A] So bounce off the [D] string quickly.
Push hard with your fretting hand.
[G] And then you'll be well and truly on your way.
Remember to keep your right hand fingers [Gm] arched.
[Ab] And keep the hand at the end of the fingerboard because that's where the strings are most loose.
The further you go back towards the bridge, they're really tight there and really hard to move.
So that's pretty much [D] it.
Have fun with that first slap lesson.
See how you go.
Key:
A
D
Ab
E
C
A
D
Ab
Hello, this is George Erbacek of Bass Lessons Online, available through the website _ creativebasslessons.com
with a lesson for the beginner slap bass player.
_ Now, although there are virtually thousands of lessons out there for beginner slap bass playing,
I've decided to create this one anyway, based on lots and lots of subscriber requests.
So people have been requesting that I do a lesson or two on slap bass playing in my particular style.
Not my particular playing style, but my teaching style. _
_ So here we go, here's the beginner slap bass lesson.
As with a lot of my beginner lessons, I'll just address the one hand at a time approach first of all.
So we'll look at the actual slapping hand, which in this case, in my case, is the right hand.
So we'll look at a couple of issues.
First of all, you need to get your wrist in a straight as possible position.
So not like this, and not like that, and not like that, and not like that.
So keep it straight, loose, comfortable so it's flexible.
And then essentially what you're doing with the slapping and popping is that you're twisting the wrist,
but very lightly twisting the wrist.
Another thing you may notice is I keep my fingers curled inwards, not out like that.
You can do this test if you go like this, if you keep your fingers sort of straight out, fanned out,
you're actually putting a lot of weight to your fingertips where you don't need them.
If you go like this, the weight of the hand is actually more over the thumb and the wrist where you need it.
So that's important.
That's the one reason that's important.
The other reason is when you're popping, of course, the fingers are already in place to pop the strings,
whereas if you go like that, well, they're nowhere near the strings.
So that's a really good starting position.
As you see, to begin with, I keep my thumb sort of pointed upwards, but that's only if I'm going to strike the E string.
Once I strike the A and the D and the G strings even, the thumb has to be a lot more parallel to the strings.
Speaking of parallel, also the arm is more parallel than the [N] usual playing position.
So instead of up like that, you basically just drop your arm, drop your shoulder, drop the elbow, so the arm is more parallel.
_ So I'll start out first of all by just muting the strings with my left hand.
So we're looking at pure rhythm first, rather than notes.
The important thing is once you are on the string, you've got to bounce off as quickly as possible.
So it's almost like a reflex action, as if you're getting an electric shock.
Quickly get away from that.
So it's like that.
So don't stay on the string.
As soon as you stay on the string, what you're getting is virtually nothing.
You're dulling or deadening or muting the string.
So you've got to jump off [E] quickly.
So actually making the string truly vibrate and [N] ring for a long, long time.
So that's really important.
Probably the best place to actually hit the string is with just the protrusion or the first joint of the thumb.
That's the boniest part and that'll give you the _ clearest sound, I guess.
So let's have a look at first of all just doing muted hits on the E string.
Then you can go to the A string.
Try to do the same there.
So this is important to try to get the aim right.
And the G again.
And then back down again.
So that's the first thing, just try to do that. _
_ _ _ _ _ _ _ _
_ _ _ Just doubling up the rhythm, etc.
You can do a lot of these exercises away from the bass.
I used to do it a lot, still do it, on shopping trolleys, on my car roof, etc.
Many, many places.
On my knee, I like to do that on my knee just to get that thumb and wrist movement nice and loose.
So what I'm doing here, there are two main _ thumb slap techniques.
What I'm doing essentially is I'm bouncing off the string quickly.
So that's the first one I recommend.
The next one is [Ab] actually follow through.
See how I'm following through and resting on the neighboring string.
So that can go for all strings too.
So that works quite well as well.
That'll be very helpful for when you want to eventually pluck upwards.
[C] So the first thing is just that, getting the thumb and _ the aim right.
So you're actually aiming between [Ab] the strings, especially to get that A string, D string, G string in that case.
_ OK, for the pop, the pop is quite simple.
You'll see I'm actually slapping at the end of the fingerboard, virtually in the last [N] fret.
So the thumb should be in the last fret.
That enables the first finger to just pop.
So you pull the string _ outwards, downwards.
So not straight out, but sort of as if you're going to the floor, you're flicking the wrist.
See how the wrist twists.
And you can use the first or second finger.
I tend to use both.
I started out using first, but now I also use a second finger, especially for the G string popping.
So you've got that [E] flick motion.
So for example, if you were [C] to simulate octaves, [N] let's say the E string and the D string, so string sets like that.
And then the A, sorry, E string and D string, and then the A string and G string, you'd go like this.
G, E, E, E, E, E, and then A, G, A, G, A, G.
See how it takes a while to actually get the aim really accurate. _
So that's the first thing you can do.
And then you can double that up to go, _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
etc.
So that's a really, really good beginner exercise to do.
Once you've got that okay, then you can start to actually hold notes.
So like, for example, [A] hold octaves.
_ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [D] _ _ _
_ [A] _ _ _ [Ab] _ _ [A] And just [F] add other notes as you go along.
So the initial thing is just [A] getting those strings to vibrate as you are fretting the strings as well.
That's really important.
You've got to press hard.
You've got to [E] _ snap back quickly.
That's [Db] the important thing.
Again, if you leave your thumb there, see, nothing happens.
You just get dull.
[A] So bounce off the [D] string quickly.
Push hard with your fretting hand.
[G] And then you'll be well and truly on your way.
Remember to keep your right hand fingers [Gm] arched.
_ [Ab] And keep the hand at the end of the fingerboard because that's where the strings are most loose.
The further you go back towards the bridge, they're really tight there and really hard to move.
So that's pretty much [D] it. _ _
Have fun with that first slap lesson.
See how you go.
with a lesson for the beginner slap bass player.
_ Now, although there are virtually thousands of lessons out there for beginner slap bass playing,
I've decided to create this one anyway, based on lots and lots of subscriber requests.
So people have been requesting that I do a lesson or two on slap bass playing in my particular style.
Not my particular playing style, but my teaching style. _
_ So here we go, here's the beginner slap bass lesson.
As with a lot of my beginner lessons, I'll just address the one hand at a time approach first of all.
So we'll look at the actual slapping hand, which in this case, in my case, is the right hand.
So we'll look at a couple of issues.
First of all, you need to get your wrist in a straight as possible position.
So not like this, and not like that, and not like that, and not like that.
So keep it straight, loose, comfortable so it's flexible.
And then essentially what you're doing with the slapping and popping is that you're twisting the wrist,
but very lightly twisting the wrist.
Another thing you may notice is I keep my fingers curled inwards, not out like that.
You can do this test if you go like this, if you keep your fingers sort of straight out, fanned out,
you're actually putting a lot of weight to your fingertips where you don't need them.
If you go like this, the weight of the hand is actually more over the thumb and the wrist where you need it.
So that's important.
That's the one reason that's important.
The other reason is when you're popping, of course, the fingers are already in place to pop the strings,
whereas if you go like that, well, they're nowhere near the strings.
So that's a really good starting position.
As you see, to begin with, I keep my thumb sort of pointed upwards, but that's only if I'm going to strike the E string.
Once I strike the A and the D and the G strings even, the thumb has to be a lot more parallel to the strings.
Speaking of parallel, also the arm is more parallel than the [N] usual playing position.
So instead of up like that, you basically just drop your arm, drop your shoulder, drop the elbow, so the arm is more parallel.
_ So I'll start out first of all by just muting the strings with my left hand.
So we're looking at pure rhythm first, rather than notes.
The important thing is once you are on the string, you've got to bounce off as quickly as possible.
So it's almost like a reflex action, as if you're getting an electric shock.
Quickly get away from that.
So it's like that.
So don't stay on the string.
As soon as you stay on the string, what you're getting is virtually nothing.
You're dulling or deadening or muting the string.
So you've got to jump off [E] quickly.
So actually making the string truly vibrate and [N] ring for a long, long time.
So that's really important.
Probably the best place to actually hit the string is with just the protrusion or the first joint of the thumb.
That's the boniest part and that'll give you the _ clearest sound, I guess.
So let's have a look at first of all just doing muted hits on the E string.
Then you can go to the A string.
Try to do the same there.
So this is important to try to get the aim right.
And the G again.
And then back down again.
So that's the first thing, just try to do that. _
_ _ _ _ _ _ _ _
_ _ _ Just doubling up the rhythm, etc.
You can do a lot of these exercises away from the bass.
I used to do it a lot, still do it, on shopping trolleys, on my car roof, etc.
Many, many places.
On my knee, I like to do that on my knee just to get that thumb and wrist movement nice and loose.
So what I'm doing here, there are two main _ thumb slap techniques.
What I'm doing essentially is I'm bouncing off the string quickly.
So that's the first one I recommend.
The next one is [Ab] actually follow through.
See how I'm following through and resting on the neighboring string.
So that can go for all strings too.
So that works quite well as well.
That'll be very helpful for when you want to eventually pluck upwards.
[C] So the first thing is just that, getting the thumb and _ the aim right.
So you're actually aiming between [Ab] the strings, especially to get that A string, D string, G string in that case.
_ OK, for the pop, the pop is quite simple.
You'll see I'm actually slapping at the end of the fingerboard, virtually in the last [N] fret.
So the thumb should be in the last fret.
That enables the first finger to just pop.
So you pull the string _ outwards, downwards.
So not straight out, but sort of as if you're going to the floor, you're flicking the wrist.
See how the wrist twists.
And you can use the first or second finger.
I tend to use both.
I started out using first, but now I also use a second finger, especially for the G string popping.
So you've got that [E] flick motion.
So for example, if you were [C] to simulate octaves, [N] let's say the E string and the D string, so string sets like that.
And then the A, sorry, E string and D string, and then the A string and G string, you'd go like this.
G, E, E, E, E, E, and then A, G, A, G, A, G.
See how it takes a while to actually get the aim really accurate. _
So that's the first thing you can do.
And then you can double that up to go, _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
etc.
So that's a really, really good beginner exercise to do.
Once you've got that okay, then you can start to actually hold notes.
So like, for example, [A] hold octaves.
_ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [D] _ _ _
_ [A] _ _ _ [Ab] _ _ [A] And just [F] add other notes as you go along.
So the initial thing is just [A] getting those strings to vibrate as you are fretting the strings as well.
That's really important.
You've got to press hard.
You've got to [E] _ snap back quickly.
That's [Db] the important thing.
Again, if you leave your thumb there, see, nothing happens.
You just get dull.
[A] So bounce off the [D] string quickly.
Push hard with your fretting hand.
[G] And then you'll be well and truly on your way.
Remember to keep your right hand fingers [Gm] arched.
_ [Ab] And keep the hand at the end of the fingerboard because that's where the strings are most loose.
The further you go back towards the bridge, they're really tight there and really hard to move.
So that's pretty much [D] it. _ _
Have fun with that first slap lesson.
See how you go.