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essenti.alsnrluW,*fopm

ard nurlry BnrrHI Ovu 140 essential

patterns and exercises covering

everyaspect o[ Slap Bass

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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 @


Pattern29 Drumtreat 4

Swing r""r tIl =J')l

t9

Pattern r"r_@ Drumbeat 2 @

Pattern 1O

Drumbeat, @ .r_


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


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 @



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


LSSLSS

Pattern;r_q »rumbeat 1 @

@

PMSMPS PMSP S

26

Drumbeat 1@


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


MP S PS.AAAA'

S PSa§§t^a


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


S PPM S PPM PS LS S LS S S PPM S PPMP


S PPM

Pattern.S@ Drumbeatl@

PMSS PPV


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


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

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