‘Hump de Bump’ is from the Red Hot Chili Peppers’ 2005 album Stadium Arcadium and features a fantastic bassline from Flea. The line is based around an aggressively performed double stop riff, with a wicked fingerstyle groove for the chorus sections. To download the transcription (with TAB and without), please visit the Free Stuff page.

This simple track was written to represent Sting, one of the UK’s best-known bassists, and an artist who has experienced incredible success both with a band, and as a solo artist. This track has been written in the style of Sting’s work with his band The Police and features a relatively simple bass part which […]

This track was written to represent virtuoso bassist Michael Manring, an artist who has always been very successful in combining multiple techniques into one seamless performance. This is one of the main challenges with this piece. Although Michael’s extensive use of multiple tunings is not reflected here (something that would be very difficult to achieve […]

‘Don’t Fret’ is an eighties pop track that was written to represent Pino Palladino’s fretless and effects work with artists such as Paul Young and Gary Numan. Like many of Pino’s lines from the era, much of this part is played in the middle, or upper registers of the instrument, with an octave pedal used […]

‘Cream of the Crop’ was written to reflect Jack Bruce’s compositions and pioneering bass work with legendary rock trio Cream. It contains many stylistic elements that were common to his playing, such as pentatonic and blues scale-based riffs and fills, the use of ‘contrary motion’ and chord inversions to create more interesting lines, the use […]

‘Back to School’ was written to reflect the contributions that Stanley Clarke has made to the development of the bass guitar as a solo instrument. It features strummed power chords, slap and pop grooves, chordal fingerstyle passages, manipulated harmonics, and an aggressively played bass solo. Don’t forget to hit the Download Resources button above in […]

‘Funkzilla’ was written in the style of the classic funk that Bootsy played with George Clinton’s Parliament/Funkadelic collective, as well as with his own group, The Rubber Band. The track features a funk swing feel, syncopated funk grooves that are peppered with ghost notes and shakes, and of course, the use of an envelope filter […]

‘Outrage’ was written to reflect Tim Commerford’s ground-breaking work with Rage Against the Machine back in the early nineties. The bassline for this track is an aggressive, riff-based line that requires both slap and fingerstyle techniques, and in keeping with Tim’s basslines with both Rage Against the Machine and Audioslave, it’s heavily based around the […]

‘Who Dunnit’ was written to represent Duck Dunn’s simple but effective work at the Stax record label during the sixties and seventies, as well as his work with the Blues Brothers. The track features many stylistic elements that were common to Duck’s basslines, such as a heavy use of chord tones, the use of additional […]

‘Chic Unique’ was written to represent Bernard Edwards’ bass work with Chic and Sister Sledge during the seventies and eighties. The line features many common elements of his playing style, including a heavy use of chord tones, the use of ghost notes, the use of open string jumps, and the use of ascending and descending […]