Bass Lessons - Begging Tap For Bass Vol.7 bass tab
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:
|-------14-------16-|
|----14-------14----|
|-12-------12-------|
|-------------------|
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:
|---------14----16-14----14-|
|------14----14-------14----|
|---12----------------------|
|---------------------------|
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:
|-----------14--16--|
|-------14----------|
|-------------------|
|---12--------------|
And outlining ninth chords:
|-----------14--16--|
|-------14----------|
|---12--------------|
|-------------------|
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...
