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Funk fingers invented by progressive rock bass player Tony Levin create a similar sound by using a hard surface to strike the strings and intentionally cause string contact with the fretboard. Spank bass developed from the slap and pop style and treats the electric bass as a percussion instrument, striking the strings above the pickups with an ...
This style couples a percussive thumb-slapping of the lower strings with an aggressive finger-snap of the higher strings, the slap of the thumb used to emulate a bass drum and the pop of the index or middle finger a snare drum. [2] The slap-and-pop technique also uses a lot of muted or "dead" notes, which adds to the rhythmic effect.
William Manuel "Bill" Johnson (died December 3, 1972) was an American jazz musician who played banjo and double bass; [2] he is considered the father of the "slap" style of double bass playing. [3] In New Orleans, he played at Lulu White's legendary house of prostitution, with the Eagle Band, and with the Excelsior Brass Band. [4]
He also created "funk fingers", modified drumsticks that attach to the fingers of the player in order to strike the bass strings, adding a distinctive percussive "slap" sound used in funk bass playing. In 2011, Levin ranked #2 behind John Paul Jones of Led Zeppelin in the "20 Most Underrated Bass Guitarists" in Paste magazine. [5]
On the double bass, this style of snap pizzicato, or "slapping", was used in jazz since the 1920s and later used in rockabilly. Because an unamplified double bass is generally the quietest instrument in a jazz band, many players of the 1920s and 1930s used the slap style, slapping and pulling the strings so that they make a rhythmic "slap ...
Eric Langlois ()Terry Lewis (); Dirk Lance (Formerly in Incubus); Dave LaRue (Dixie Dregs, Steve Morse Band and others); Martyn LeNoble (Porno For Pyros); Henrik Linder (Dirty Loops)
Slap-style bass is sometimes used in bluegrass bass playing. When bluegrass bass players slap the string by pulling it until it hits the fingerboard or hit the strings against the fingerboard, it adds the high-pitched percussive "clack" or "slap" sound to the low-pitched bass notes, sounding much like the clacks of a tap dancer.
Because an unamplified double bass is generally the quietest instrument in a jazz band, [citation needed] many players of the 1920s and 1930s used the slap style, slapping and pulling the strings to make a rhythmic slap sound against the fingerboard. The slap style cuts through the sound of a band better than simply plucking the strings, and ...