The Evolution
Many changes have occurred in the making and playing of the bass guitar over the last century. Slapping the bass is considered to have begun in the 1920s on the double bass. On the double bass, it refers to a technique that is a more vigorous version of pizzicato, where the strings are plucked so hard that, when released, they bounce off the fingerboard, producing a distinctive sound. A percussive effect is also created by striking the strings with all four fingers of the right hand.
On Electric Bass Guitar
On the electric bass, slap bass refers to a percussive playing technique in which the style sounds and looks percussive rather than using the usual fingering of notes. Technically, it is called “slaps” and “pops.”
In slaps, the bassist strikes the lower strings near the base of the neck using the bone of the thumb joint.
In pops, the bassist snaps the higher-pitched strings away from the body with the index and middle fingers, causing them to bounce off the fretboard. This produces a sharp, buzzing tone with more high-frequency vibrations than in plucked bass.
Innovations
Double bass player Bill Johnson is considered by many to be the father of slap bass. Techniques later developed by Larry Graham and Louis Johnson are now practiced by most electric bass players around the world. Some bassists use fingers instead of the thumb for slapping.
Abraham Laboriel Sr. developed a technique using the thumb to pop the strings while his other four fingers slap them. Victor Wooten uses a double-thumb technique, slapping the string downward and popping it upward, allowing him to play rapid patterns reminiscent of a drum roll. Tony Levin created a similar percussive effect called funk fingers, using small drumstick-like attachments on his fingers. Doug Wimbish also uses fingers other than the thumb for slaps. Left-handed bassists like Stan Sargeant, who do not reverse the strings, typically avoid using the thumb. To achieve a metallic slap tone, some bassists use their nails.
Notable double and electric bass slap players include Bill Johnson, Pops Foster, Wellman Braud, Chester Zardis, Milt Hinton, Kim Nekroman, Scott Owen, Alcide Pavageau, Lee Rocker, Amy LaVere, Bootsy Collins, Stanley Clarke, Jonas Hellborg, Marcus Miller, Stuart Hamm, Les Claypool, Mark King, Kai Eckhardt, Mike Gordon, Flea, Fieldy, Juan Nelson, Alain Caron, Brian Bromberg, Gustavo Dal Farra, and many others. Observing these players shows that each has a distinctive style. Similarly, every musician, professional or amateur, has unique methods and techniques that must be nurtured with proper training and self-motivation.
Applications
Since the adoption of the electric bass in jazz music and the subsequent development of slap techniques from the 1940s, slap bass has attracted music lovers worldwide. With the rise of funk music, slap bass has been subject to various experimental techniques. Since the 1960s, slapping has been applied across multiple genres, especially funk, disco, jazz, pop, and world music fusion.
As Western music evolved, fusion music quietly developed its own innovations. One of the key instruments for Indian fusion music has been the tabla. Bassists succeeded in blending slap bass with Indian percussion due to the similarity in tonal qualities. Jonas Hellborg and Kai Eckhardt adopted different slap approaches to complement Indian classical music.
Tabla/Mridangam Slap Technique
From the beginning of my bass career in 1986, the tabla/mridangam-style technique felt comfortable to me than conventional slap methods. Perhaps because of my early training in the mridangam, applying this technique to the strings was intuitive.
In the early 1990s, I struggled to achieve a slap tone due to inefficient pickups and bass guitars. To solve this, I used hard plastic pipe pieces on my index and middle fingers to hit the strings like a tabla. This worked well for tone, though playability was limited. At the time, the genres I played did not require slap bass, so I set the idea aside after a few years of experimentation.
Early access to global music was limited, but in one video, the great Abraham Laboriel said (paraphrased) that the most important thing is the sound produced, not necessarily the method of playing. These words inspired me to pursue this unconventional style. Later, encouragement from bass legends such as Bootsy Collins, Jeff Berlin, Victor Wooten, Stuart Hamm, James LoMenzo, Marcus Miller, Michael Henderson, Brian Bromberg, Regi Wooten, David Pastorius, Kai Eckhardt, Phil Powell, and many others motivated me further.
How to Practice
Finger Slap Bass emulates Indian classical percussion instruments like the tabla, mridangam, or kanjira. Strings are struck like drumsticks: the index finger acts as one stick, while the middle and ring fingers, held together, act as the other.
Begin with the lowest string: strike it with the index finger (F), then with the middle and ring fingers (MR).
A basic right-hand pattern:
F-MR-F-MR | F-MR-F-MR (counts 1-2-3-4)
Then reverse the pattern:
MR-F-MR-F | MR-F-MR-F
Practice on other strings and across multiple strings. Choose a comfortable left-hand fingering on the fretboard. Beginners should hold strings half-muted with the left hand. Initially, unintended strings may ring, but after months of practice, control improves.
Starting on a four-string bass is recommended because the string spacing is larger. Many exercises can be created to improve playability and avoid issues caused by string crossing or finger placement. Any method is challenging initially, and results may not be immediate, but persistent practice leads to mastery. Ultimately, what matters is the sound, not how the instrument is played.
My Mission
Finger Slap Bass blends perfectly with funk, jazz, rock, and even heavy metal. The right-hand fingers can produce clear 16th-note passages, making it ideal for fast-paced genres. It also pairs beautifully with Indian classical music.
I have been experimenting with and promoting this method for years. I am delighted that it now has fans worldwide, and many young bassists are learning it. I believe that with a year of consistent practice, anyone can master this technique. My intention is to popularize Finger Slap Bass globally, and I am inspired to make it happen.
— Jayen