PDF Yeah, I agree. It’s kind of a weird title. But I guess it’s better than getting slapped with a chord; now, that would hurt!
This month, I want to talk about a short little technique that I get asked about a lot: I’m going to explain and show you how I slap/arpeggiate chords.
Simply stated, chords to me are small or sometimes large “families” of feelings, i.e. notes, grouped together to make one collectively beautiful sound in the air. Personally, I think they sound especially pretty on the bass guitar – with all those lower registers and all.
The title of this column does include the word “slap” in it, so I’d like to demonstrate the technique of slapping chords. First let me say (Yes, another Disclaimer) that by no means is the way I do it the definitive way!! In fact, I’m always looking for new ways to apply slap bass to chords. Consider this demo more as your starting point, and contact me with your ideas.
I think the way I slap a chord – albeit not the most efficient way – was developed like virtually all the techniques I have: On the gig, jamming with the drummer and emulating the drums through bass guitar. Again, as I always stress, my connection to the drums is crucial.
The gist of this rhythm utilizes the thumb and ring and pinkie fingers. Please check out the video, as I cannot explain it as well and as efficiently here “on paper.”
As in all music – and I mean ALL music – The key here is the rhythm! This is ALWAYS the case. These techniques I’m using on these chords won’t work without an underlying rhythm – that’s the key to the groove!
It’s not so much the exact notes of the chords we’re concentrating on here; it’s the rhythms we’re trying to get out of our souls, into our hands, through the bass and out into the air. So slap those chords around. I know I will!
Keep Jammin’
Doug
Doug Johns has written 16 articles in BMM.
Doug’s raw presence, energy, and all-around crowd-wowing prowess can be heard on numerous recordings and stages. Believing that a good musician surrounds himself with great musicians, Doug has had the privilege of working with such icons asVictor Wooten, Buddy Miles, Chuck Rainey, Dana Rasch, The LA Mass Choir, Grammy winning producer Aaron Lindsey, Steve Smith, and many others.
The culmination of these musical experiences led him to his first critically acclaimed solo CD, Doug Johns, released in 2006. Doug followed up his very well-received solo debut with his 2008 release, Pocket Fulla Nasty, and received an outstanding reaction from the bass community, as well as catching the ear of the general public very quickly. Bass Player Magazine on Johns: “One of the most credit–deserving bass virtuosos in America…it’s his inventiveness that’s consistently compelling.”
Doug’s newest release, Stank (October 2010), brings ten stank-funk tunes with returning artists Oz Noy, Kenny Anderson, Otmaro Ruiz and drummer extraordinaire, Chris Ceja. With fat slammin’ horns, intimate, artful composition and beautiful solo bass, this latest collection is a strong, healthy dose of groove for your soul. Doug Johns and company are definitely guilty of the old adage: Put some Stank on it!
Doug can also be seen on national stages with his two-man project, the Doug Johns Duo, featuring a stunningly musical approach to Bass & Drums. In addition to numerous clubs, clinics, and festival bookings, also look for Doug playing such events as BassQuake, Bass Player Live, Bass Slam andBassBash with a host of other stellar bassists.
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