The interval of a fifth, which we considered last time, sounds 
weak when used  
extensively, so this week we'll examine how it can be combined 
with the fourth  
interval we've previously used to produce what is probably 
the most useful of  
all right hand tapping patterns.

Play an A chord at the twelfth fret as usual, then follow it with 
 a fifth  
based pattern similar to the one we looked at last time:
               
|———————14———————16—|   
|————14———————14————|            
|—12———————12———————|   
|———————————————————|   


Now rather than keeping your fingers straight, play the fifth 
by hooking your  
third finger round behind your middle finger.  With practise 
you should find a  
hand position which is a comfortable compromise between the 
the fourth and  
fifth hand positions you've been using previously.  By using 
this hand  
position you can smoothly mix both fourths and fifths to provide 
passing  
notes:
                        
|—————————14————16—14————14—|   
|——————14————14———————14————|           
|———12——————————————————————|   
|———————————————————————————|   


The B—A transition is a pull—off.  You should be able to remove 
your third  
finger from the string cleanly enough to leave the A ringing, 
and to provide
a smooth transition between the notes.  Make sure your timing 
is tight on
this example — in particular there should be no delay in shifting 
between
hand positions.  In fact there should be very little hand movement 
involved
once you've found the correct technique.

This fingering position is VERY important.  It crops up everywhere, 
but its  
main uses (in terms of chord construction) are in resolving 
suspended fourths:
                 
|———————————14——16——|   
|———————14——————————|   
|———————————————————|   
|———12——————————————|   

And outlining ninth chords:
                
|———————————14——16——|   
|———————14——————————|         
|———12——————————————|   
|———————————————————|   


Ninth chords are very important on bass, as the large intervals 
involved  
prevent the sound from being muddy, while still providing a 
complex sound.
I hope to cover them in more detail in a later lesson.

To avoid confusion with fourth and fifth hand positions, I'll 
probably refer  
to this hand position as a ninth position, regardless of the 
harmonic role  
it's playing.

OK, time for the examples.

The first example is a pattern I sometimes use for the middle 
section of  
"Panama" (Van Halen).  The section is pretty quiet, and can sometimes 
drag —  
depending on the atmosphere, this riff can pick things up nicely 
and fill in
the gap.


|—————21————21————23—21———21—|—21————21————23—21————21——|
|o———————21————21———————21———|————21————21———————21—————|
|o————7——————————————————————|—————————————5————————————|
|————————————————————————————|——————————————————————8———|
                           \___/                    \___

|—————21————21————23—21———21—|—21————21————23—21————21——|
|————————21————21———————21———|————21————21———————21————o|
|————————————————————————————|—————————————5————————8——o|
|—————8——————————————————————|——————————————————————————|
  ___/                     \___/                    \___


The final example this week is an all time fave of mine — Stu Hamm's 
"Kings  
of Sleep".  This makes repeated use of the ninth position, while 
the left hand  
plays the bass line.  Note how the same right hand notes play different 
roles  
within the chord depending on the bass note.

This version is written for a standard bass — those with Kubicki's 
can use  
the extender, and drop some of the notes down one octave to be 
consistant  
with the record.  Alternatively non—kubicki users could raise 
everything one  
tone.


                                                                  Repeat
|———14————16—————|————14————————|———14————16—————————|———14—————————————|
|——————14————————|———————14—————|——————14————————————|——————14——————————|
|—————————————4——|——————————————|—5————————————7—/9——|—7—————————7—9—7——|
|—5——————————————|—2————————————|————————————————————|——————————————————|
  H T  T  T   H  | H  T  T      | H T  T  T    H  S  | P T  T    H H P  |


                                                                      DC
|———14————16—————|———14——————————————|———14————16——————|———14———————————|
|——————14—————11—|——————14————————11—|——————14—————11——|——————14————————|
|—9——————————————|—9————————11—12————|—9———————————————|—9——————————————|
|————————————————|———————————————————|—————————————————|————————————————|
  H T  T  T   H  | H  T  T  H  H  H  | H T  T  T   H   | H T  T  H H  P |


Enjoy...