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= Advanced Level =a ==q Section 3 == Advanced Level = ae Chapter 12 The Shuffle Feel 108 — Chapter 13 Open String Hammer-Ons 114 = Chapter 14 Double Thumbing Part 1 127 = Chapter 15 Double Thumbing Part 2 136 ==] Chapter 16 Double Thumbing Part 3 147 =a Chapter 17 Combining Techniques 158 =a Advanced Level Exercise Area 164 = =i = =a =a = = = =a = =a =a ULTIMATE SLAP BASS 107 Advanced Level 108 Chapter 12 The Shuffle Feel So far, most of the exercises we have looked atin this book have been based on a straight siteenth note fee However, in order to be able to apply the slap and pop technique to 3s large @ variety of styles as possible, is revescary to stuty the shuffle feel, Shuffle f @ very foose term used to describe a groove that has a swing Straight Sixteenth Note Groove can near these two grcoves on the CD - you'll hear tr there is quite a difference! feel to it - an underiying Wiplet fel as opposed 10 straight sixteenth note feel, Compare the following dr—~ pattems, The first Isa straight sixteenth note fee! ‘Second is the same pattern out with the shuffle fee. CD 2: Track 24 rags Even without listening to the grooves, you can see just by looking at t that the siuile groove has a very diferent feel. The elongation of the fist sixteenth note ‘and shortening of te second are the essence of the shuffle fee, although there are many degrees to which this can be done. Striet adherence to the rhythm above rakes for a somewhat stif and ‘quantised’ chythm, wahich may well be what i required. Relaxing the nythm however is often what really makes it groove, This feel is frequently used in many different styles of music, (notably funk and hip-hop) and you will play it mony times throughout your Ife as @ bass player Unfortunately, youl find that most of your favourite siteenth note-based riffs end licks don’t work over the shuffle fee, or at least will need to be adepted in some CD 2: Track 25 = r§aeo ood. as | ‘way, The aim of this chapter isto introduce you to the Feel, and demonstrate the type of slap grooves and fils thet work well within You should use them as start olf points for creating your own grooves and rif ‘Youll rarely see shuffle grooves written out with the -sxteenth note trglet subdivisions as iustrated above. Most of the time shuffle grooves ofthis type are notatec as sixteenth notes, possibly with a performance indication or metronome mark indicating that the parti to played with the shuffle Fee. Now that we have looked at the mechanics of the shuffle feel we can look at a selection of bass parts thst Utlise it, The next five fines are all based on the sxtzenth note shuffle fe! ‘4 900d drummer willbe anare of what the bass is doing so they it together. It's not wo instruments playing separately, its one rhytinm section. ULTIMATE SLAP BASS 20HN PAUL IONES nanan —-—=-— =e emer eee The Shuffle Feel Exercise 137 CD 2: Track 26 (3) ‘This shuffle line Isa relatively simple slap and pop groove in E. Note the use of a tenth on the G chord, the use of the ‘blue! note (the B:), and the bluesy run in the fourth bar. Although the technique required to play the line is quite basic, the trick is make It oroove. Wuuag = 105 =) = Exercise 138 This line is aso ferty simple to play technically speaking, but the aroove has to feel good in order for it to work Youll find that the hammer-on from the F to the G on beat 3 ofthe first three hars realy helps to push the shufMe feel along, ULTIMATE SLAP BASS 109 WHO eddad