Scribd Logo
Upload

Welcome to Scribd!

  • Beaver Felton - Slap Style Techniques

    Uploaded by

    Gonzalo Molina Gonzalez
    59 views34 pages
    Técnica de slap para el bajo eléctrico

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    Técnica de slap para el bajo eléctrico

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    59 views34 pages

    Beaver Felton - Slap Style Techniques

    Uploaded by

    Gonzalo Molina Gonzalez
    Técnica de slap para el bajo eléctrico

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 34
    BEAVER FELTON Asout THe AutHor CREDENTIALS: + Playing experience since age 13 + Recording experience since age 19 + Instructing experience since age 19 + Featured in Guitar Player Magazine - August '85 “Spotlight” Column + Featured in Monitor Magazine - Winter '86-"87 issue + Formerly involved in clinics for Hamer Basses, GHS Strings, Mutron Effects and Peavey Basses and Amps + Endorsee for: Peavey Basses, Ibanez Basses, Guild and Ashbory Basses, GHS Strings, EMG Pickups, Alesis Midi-verb Il, Kleen Axe, Hipshot D Tuner, Kabler Tremolo, The Guitar Glove & Strap, ART Effects, Carvin Basses & Amps + Bass instructional columnist for Monitor Magazine + Bass instructional columnist for First Bass Magazine + Bass instructional columnist for Guitar Schoo! Magazi + Received outstanding review in Guitar World Magazine + Received outstanding review in Fachblatt Musik Magazin (West Germany) + Finalist in Guitar Player World-Wide Sound Page Solo Contest ‘+ HOT LICKS video instructor and clinician + SUPERCHOPS 4 BASS instructor and clinician + METAL METHOD instructor + HAL LEONARD instructor/author + Official NAMM show demonstrator for ART Effects WHAT THE PROS SAY ABOUT SUPERCHOPS 4 BASS: + DAVE LARUE (STEVE MORSE BAND) - “For me these tapes are a great source of new ideas. Well laid out and easy to understand, even the intermediate lessons provide a good month’s worth of work.” + RANDY COVEN - “The guy doesn’t stop. He's mastered just about every technique. Most important is that he i teacher. And that's good for you. Check it out. I did! + WILL LEE (David Letterman) - “Beaver is a truly gifted playe: who, through his clear-cut teaching manner, gives generously from his fingertips to yours. | bought the entire series.” + KENNY AARONSON (Billy Idol, Bob Dylan, Rick Derringer, Brian Setzer) - “The SUPERCHOPS 4 BASS series contains useful and clearly explained info which will definitely improve your technique and add some real fire to your playin, uw Using harmonies on 12th fret 0" Denotes a harmonic: Articulate by lightly touching string, without fretting, above fret and pluck with right hand Goring: 2, Dating: Assting: E sring: 3. ELEMENTS OF SLAP TECHNIQUE - juck: Single Thump Double Thump Br el eens: TH OTH OTH TH OTHTH _THTH ee ee ee ee ~ Thumped Hammer-on ~ _ Hammer-ons will normally be two or more notes, the second note ascending from the first. Only the first note is thumped or plucked, as indicated = by the slur with TH or P r 1H TH mH TH ™ Plucked Hammer-on P P Pp P P ~~ ~ = — — TF, ‘Thumped Pull-off Pull-offs will normally be two or more notes. The second note descending from the first. Only the first note is thumped or pulled, as indicated by the slur with THorP ™ TH TH ™ TH Plucked Pull-off P P P P Pp Slur or Slide Articulate only Ist note, allowing this note to sustain, slide into next note TH Po TH TH Pp TH PoTH TH Pp TH P Vibrato: First type - Using 3rd or 4th finger, sli fing quickly back and forth between two or three frets to sustain both notes as they alternate oe = = a : < - Vibrato 2nd type Finger Vibrato - Pushing and pulling string rapidly across fret to vary the pitch slightly up and down rapidly Percussive, Choked or Muted Note Left hand dampens or chokes the string indicated. Usually in the same position as the fretted notes surrounding the choked note, however only the string being choked will be indicated | Muted Thump Il Muted Pluck mm ™ ™ ™ PEP PP P Ml Left Hand Choke IV Wrist or Palm Mute - Hammer-on with fingers Similar to left hand choke, but of left hand articulated with right hand wrist or palm instead of fingers. Usually in a rapid or advanced technique mow wb wm ow wow wow Ww Example of Alternating Muted Pluck and Wrist or Palm Mute wore ow op wep we we wre we we a tt J LL mm dh dd hd Le es wewe wewe wewe wewe w 4. 4 BY 4 EXERCISE ‘Thumping only, dampen strings not being played OTH TH TH TH OTH TH OTH OTH OTH OTH OTH OTH OTH OTH TH OTH OTH OTH TH OTH TH TH TH TH TH TH oOTH OTH OTH Octave Explanation ™ P | — a eae tl tl ss as i eh oh Right Hand Exercise P P TH ™ TH ™ fa mm TH oH TH Disco Lick with Double Thumps. po o™mmP po mm P P P P am tay Disco - Double Thump (continued) p THT pe Ta HE, P Pp Pp P P TH Right Hand Exercise: Double Thump P P P P P Pp P i TH TH gg THTH gg THT g THTH g THTH g THTH g THTH @THTH @ THTH Disco with Double Thumps, Slurs and Choked Notes P P P TH TH TH TH - TH TH Pp P ; , 6. OCTAVE PATTERN | P P P TH TH TH TH mt 2 TH TH TH TH 7. OCTAVE PATTERN 2 P P P TH TH TH 8. THUMPED AND PLUCKED HAMMER-ONS TH PTH TH TH TH TH OP m2 om Po mH Pom P mH Pom P fl E be __» = Sse == HO HO — ———s nm Right Hand Exercise Tm oP oT oP oT Pp oT Pp oT Po TH POH Po oT POOH Eminor C 9. E MINOR PATTERN | i Hammer-ons and Pull-offs, Plucks and Thumps P HOH, P HTH _P mH mH mm DoH om Tm mH mH om ot Explanation of Pattern: ‘Start with thump on low E string ‘Thumped hammer-on, Sth-7th fret A stri 7H TH TH a ee ee ee ‘Two muted thumps over E string. Combination: > 7th fret, muting by dampening with left hand ™ Tm! mH TH ™ TH HO. Ho. E ; = = = = 10 roe ru Slek 4. Page, by 9.- Explanation (continued) Variation: Plucked hammer-on 7th to 9th fret, G mi Plucked pull-off, 7th to Sth fret, D string 7 P pam Plucked hammer-on 6th to 7th fret, Plucked pull-off Sth to 4th fret, G string P D string - 10. E MINOR PATTERN 2 mm mmP THT vHTH P TH P P P P, TH OTH THTH TH oTH_ TH TH, TH TH THTH g @ TH OTH THTH @ Complex Version (continued) P as P TH THTH P THTH Sy TH TH TH TH am Ee) ” mm? i P mH P TH TH P mH 1 H rm TH =" Explanation - Like last pattern, 4 start with thump on low E, thumped hammer-on, Sth to 7th fret TH TH Astring 3 Variations: . Sei ticked them, ASCE REG pasos Tow E sting FirstD string 4th Sthto 7th “tht 9th G string, 6th to TH p Sthfret De —— a J Ho Ho HO HO Explanation (continued): Ascending 7th t0 9th 11th to 12th 12th to 14th 14th to 16th t ° = ne — Descending - exactly the same in reverse. All pull-offs 16th to 14th 14th to 12th 12th to 11th th 10 7th P P P £> —, = Over to D string 7 to 6th ale 7th 7th to Sth Sth to 4th Back to root r ro P P TH = i eel liom elo oe ele aa ol | Il. SIMULTANEOUS PLUCKS mH oT mH PD Pp P : TH Po TH P TH op 14 Begin with thumped hammer-on, open A string to Sth fret, Ist finger ‘Then two muted thumps (mute over Sth fret) TH a TH Explanation ! L l ‘Then two note plucks: Right hand Ist finger - Plucked hammer-on, Sth - 7th fret 2nd finger ™ G string, immediately followed by a pluck Left hand - 3rd fret, D string, w/Ist finger Sth fret, G String w/4th or 3rd fin P P P mf > produce this “chord” in ios! Move up a whole step (2 frets) and pluck again P P P >| ‘Then simple octave pattern starting on 7] 2nd fret, proceeding to 3rd fret, 4th fret ‘Then start pattern over | Mop Bm gh aa Be _ ‘Then for 2nd half on 2nd variation, slur up to 8th fret then chromatically down to original position 7] P P P - FE : TH TH mH Mb; q ~ _) 12. WRIST VIBRATO TH OP TH pw a ww i = | ara) I 5 16 Explanation Begin w/octaves, A and G strings, 3rd fret same thing, slide up and slur into Sth fret: TH PTH TH e ™ Pom fom Together: TH PTH slide it up to 7th fret Poop TH . pm em TH TH TH OTH OTH TH 1st variation comes in - 2 note pluck, D and G string, starting on 9th fret, between 11th and 12th fret PS TH ™ ™ TH Ist half slowly: TH OP TH pow ‘2nd half of patter is the same up to the variation - instead of double pluck slide down from 19th fret on E string ™ ™ ™ ea m™ PTH 13. HAMMER-ONS AND THUMPS TH OTHTH THTH THTH THTH TH TH THTH TH OTHTH oTHTH_ THTH | THTHTH TH THT THTH TH TH THTH ma THTH m P TH TH 7 Explanation Hammer-ons on 3rd to Sth fret on E, A and D strings, some octave thump/pluck at the end. Start with thumped hammer-on, 3rd to Sth fret to E string: ‘Then a choked thump: on TH “Then the same thing on A string: aieaweicheatutas ms co ‘Then the same thing on D string: Back to the A: ™ i ™ TH Last part is: (with no muted notes) Pattern so far: ™ TH TH TH TH an ™ oH 18 only variation is at the end: octaves, thumps and plucks on A and G strings, 2to 4 fret ___ Pattern is repeated 3 times: aes ie 7 ™ HTH oTHTH ™ TH OTH TH OTHTH OTHTH OTH PTH PTH = 4. ORLANDO LICK Uses triplets (also called “Orlando” lick) ™ ome ™ mp ™ om P ™ om Pp ™ mp n al ™ me m™ TKP ™ me ™ HP Explanation a jammer-on, 2nd finger ] ‘Thainpion if ‘Then hammer-on, ee ‘on 3rd fret, same string Third note is another thump ™ 1H TH VS 1.0 Pluck last note Played as described while holding or on Sth fret produces on 4th fret G string down frets yields a G chord: an A chord: \ P ™m™ =, ™ PF mum , mH yey YY — HO Optional - played just as a percussive effect: ' ™ THe TH TH TH TMP Tm! Tm! ; 3 a a a 15. 16TH NOTE PATTERN | s Every 16th note is filled with thump, hammer-on or muted effect THO THTH THO TH TH TH TH TH TH TH — HO Explanation Start with thumped hammer-on = 7th fret A string: TH TH TH ‘Then two thumps on low E: Hammer-on to 7th fret E string ‘Thump and Hammer-on again: 1st Part: i a ™ om oH ] ™ pee 2nd Part - 4 notes > Ist two thumped on low E Then hammer-on, Ist finger to Sth fret Then thump same fret r a id ™ oH nat we Last Part - 4 notes - thump and harhmer-on to 7th fret.then another thump and eee Last: Muted thump, leading - Togethe hammer on to 7th fret on low E beck to'beginning ™ TH ™ ™ mH fa —/ #0 16. 16TH NOTE PATTERN 2 ? r mo ome omy me ™ OT TH TH aH ‘ mH OTHTH TH HO TH THP TH THe Explanation : ‘Start with 16th note formula Add triplets (also done previously) (as done previously) wi fee mow Pr a mo 1" ™ = a ‘Then back to original part ‘Then octaves on A and G string, 5th fret then 4th f ™ TH TH ™ TH TH Pp TH P ‘Then last variation of the pattern: Back to original variation: with octaves on A and G string, slur up to 10th fret, then down to 9th fret TH TH TH TH P = P MWomm m ms TH 70TH TH TH TH ™ or HO HO HO HO 10 HO HO HO + 42-1 ss ao + 17. PATTERN IN G With wrist (w) or palm mute FE mW P 1" w ] Explanation: Ist Part Next Part: nd Slowly: (entire section) owe ] TH TH Pom _ } . ‘Then back to original part with variation of octaves on A and G string, Sth fret to Ist fret ne TH OTH Pp TH TH P TOOTH TH oTH —— P TH TH — 18. PATTERN IN A MINOR m™ WP wep TH Explanation - 1st part is a thumped pull-off, on A string. Fret 3rd fret and pull-off to open A, then a wrist mute, then pluck 2nd fret G string, another wrist mute, then pluck open G string, then a thumped pull- off on D string 2nd fret to open string ™ w P w P 1H SS | 7S es £ Po After that, pattern is repeated but going to original position on A string {instead of D string) first part up to first portion of Ist variation mW P TH OW P Tm we wop TH w ‘Add “Orlando” lick 2nd Part: Begins as before up to 2nd variation TH TH P TH OTH P ae = ™ we TH ow P wp TH w 2nd variation comes in ™ TH OTH PoP TH woe Pome a ss 2 = —— > os = — Ho Ho ib ; ——— 5 ™ ™ TH ™ TH ™ TH ™ TAP TAP AH Tar HO /HOPO PO PO PO PO PO HO HOPOPO PO PO PO PO SS ee 26 Explanation - Starts off with basic 16th note pattern (previously shown) a TH TH taps come in: TH TH OTH se HO TH OTH TH ap TAP can tar = .

    You might also like