INTERMEDIATE
Tap (geddit?) into your talent with the great Phil Mann, who returns to us once again to add a dose of percussive cool to your playing
Master bassist Phil Mann teaches us to tighten up our tapping technique
This month, let’s take yet another technical stride forward with the introduction of tapping. The ability to master this technique can be a wonderful resource for many bass players, as it allows vast harmonic information to be presented in an unorthodox manner.
Consider how pianists have the ability to deliver entire harmonic structures in an arpeggiated format: with this technique, we can genuinely enhance the traditional bass player’s vocabulary. Pro tip: If tapping is a new technique to you, make sure that your nails are cut nice and short.
Example 1
Our first example targets the I-IV and V chords in the key of G major. Whenever you work in a major key, be aware that the triadic chords on the first, fourth and fifth diatonic steps are always major – this will prove useful when you’re deciphering an array of chord progressions. Beat one of the first measure is a repeating percussive figure: the word ‘blackcurrant’ has the same emphasis.
Strike the first note of the phrase with your thumb before the next notes are plucked with your index and middle fingers. Then, tap a major triad using a combination of both your left and right hands. This melodic interpretation repeats over the remaining IV and V chords. Pay particular attention to the fingering suggested in the notation, and take your time.
Example 2
Just as the triads on the first, fourth, and fifth diatonic steps of the major scale are major, the corresponding triads of relative minor harmony are minor. Example 2 puts this into practice by transposing the same chord progression from the first exercise into the corresponding minor key. As you arpeggiate (play each note of) the triads, ensure you’re playing the first and last pitches of each structure with your fretting hand and the second and third with your plucking hand.
Example 3
Example 3 embarks on a I-VIIV-V chord progression. Once again, our percussive motif appears on the first two beats of each measure, with a supplementary 8th note on the upbeat of beat two. This rhythmic occurrence limits the amount of time available to shift your hands into position for the ensuing motif, so play the percussive notes close to the fretboard to compensate for this issue.
Example 4
Sometimes, tapping can create some unwanted overtones. In regular playing, you hold down a fret and then pluck the string. However, when tapping, the fundamental can vibrates between two different sources – bridge to finger, and finger to nut. Rectify this with a fret-wrap or hair scrunchie near the nut, but don’t over-dampen the strings.
Example 5
Our percussive dead notes have evolved in Example 5. Although we play them in exactly the same way as before, they now fall upon beats three and four, as opposed to beats one and two. Focusing on the chords of Em, D and C, in some instances the tapped triads move beyond the initial octave, so you’ll need to cross and overlap your hands. In measures five to seven, a slap motif appears on beat three. Notice that although the melodic content has developed, the rhythmic content has remained the same.
Example 6
If you assess all of this month’s exercises, you’ll notice that each tapping motif ascends from the tonic (root note) of each chord. In Example 6, though, we descend from the minor 10th interval. If you find yourself struggling to see where that is, locate the tonic in the upper register. Once you’ve seen this, picturing the associated intervals will be easier.
Example 7
This month’s penultimate exercise features slash chords, which are just regular chords that use an alternative bass note. For example, in the opening two measures of Example 7, you’ll see that the progression descends from an E minor chord down to C major. In each instance an open E string replaces the conventional bass note.
Example 8
Finally, let’s collate all of these concepts. In Example 8, you’ll need to cross your tapping hands, as well as producing an array of descending slurs. As before, strike the first note with your plucking hand and then use your fretting hand to pull off to the note below.