Progressive Thump

A Guide To Expanding Double Thumping In Modern Metal

by Alex Weber

Music Engraving: Alex Weber

Cover Design / Book Layout: Terry Branam

©2024 Alex Weber

International Copyright Secured. All Rights Reserved.
No part of this publication may be reproduced in any form or by any means without the
prior written permission of the publisher.
www.alexwebermusic.com
Contents
About the Author 3

Introduction 4

Chapter 1 6
Basic Double Thump Groupings 6
Basic Grouping Exercises 12
Chapter 2 14
Groupings Starting With Fingers 14
Basic String Skipping Exercises 16

Chapter 3 23
Double Thumping Riff Applications 23

Chapter 4 27
Hybrid Thumb Technique Groupings 27
Hybrid Thumb Technique String Skipping Movements 30
Hybrid Thumb Exercises 32
Chapter 5 35
Hybrid Thumb Riff Applications 35

Chapter 6 37
Combining Double Thumping and Thumb Techniques 37
Personal Applications of Both Techniques 39
Chapter 7 45
Transcriptions 45
Exist – "Self Inflicted Disguise" 46
Malignancy – "Contagious Psychosis" 56
Wormhole – "The Weakest Among Us" 60
Exist – "Writhe Bass Soli" 68

Chapter 8 74
Final Thoughts 74

Credits 75

Selected Discography 75
About the Author
A lex Weber, bassist, composer, and teacher, currently
resides in Baltimore, Maryland. Being born into a
musical family, he was always surrounded by music;
whether it was at performances of his percussionist father,
at the musicals his actress/singer mother would perform
in, or simply just by hearing them both practice around
the house. After picking up the electric bass at the age
of 12, he immediately knew he had found his true calling.
Early on, he was attracted to punk and ska music but soon
quickly started to drift in the direction of heavier musics,
like the various genres of metal. Throughout middle and
high school, Alex would perform and record with various
local metal bands. Most of them would end up performing
at many of the well-known MD/VA rock venues opening
for notable acts such as Cynic, Devin Townsend, Gojira,
Tesseract, Animals as Leaders, Periphery, Candlemass, Katatonia, and Sonata Arctica.

In 2007, Alex enrolled in the Jazz program at Towson University and was introduced to
the acoustic bass, to which he became quickly attached. While at Towson, he studied jazz bass
under Jeff Reed, and improvisation with Jim McFalls and Dave Ballou, while also studying with
visiting artists such as Drew Gress, Ellery Eskelin, and Mark Dresser. He graduated in 2011 with
a Bachelor of Arts degree in Jazz Performance. During this time, Alex also started his career
as a freelancing musician playing jazz in various local venues and has now branched out into
performing many differing styles of music, including jazz, rock/funk, blues, fusion, bluegrass/
country, folk, and classical.

Alex joined progressive metal band Exist in 2008 to cover bass and vocal duties and has
since recorded four albums with them. In 2017, Exist signed with Prosthetic Records and has
toured the US and Canada with notable bands such as Gorguts, Obscura, Beyond Creation,
and Archspire.

Besides touring with Exist, Alex has also toured all over the world in a diverse assortment
of metal bands such as Jeff Loomis’ solo project, Defeated Sanity, and Sabbath Assembly. In
2020, Alex joined the brutal death metal Malignancy from Yonkers, NY and in 2022 he joined the
internationally renowned German technical death metal band Obscura as their live bassist. Since
then he has played all over the world at various festivals where both bands have headlined.

Throughout the last decade, Alex has released records with various projects and groups
that he leads or has been a part of. In 2018, he put out his first jazz record as a bandleader
entitled “Wandering Through” that features local Baltimore musicians and some of his original
compositions. Other releases include two records from jazz/metal quintet Talking Points, an
improvised music trio album under the name Michaels Weber Kuhl, and an EP from a new project
called Svengahli that features the metal side of his composing. The project’s first EP Nightmares
Of Our Own Design, which features internationally renown musicians such as Kevin Hufnagel,
Rafael Trujillo and Anup Sastry, was self-released in 2020. He plans to continue developing the
group and a full length album is currently in the works.

Progressive Thump 3
Introduction
G
rowing up as a metal bassist, I was constantly facing the task of learning fast paced
and technical music. Long and sprawling song forms, wide and angular melodic
shapes, and fast right hand picking patterns were just a few of the constant difficulties
I had to navigate as I learned the language of metal. Even after many years of experience and
practice, the one challenge that would always seem to present issues, which never got any
easier, was right hand speed. Maybe I’m just not as naturally fast as other players, or maybe
I had poor technique back then, but something never felt quite stable enough for me with
playing just regular finger style.

For years I had worked on the typical three finger technique that most metal bassists
use. Even though I had put a lot of time into the technique, there was always something about
it that felt incomplete and there were always inherent problems that I saw with it. One of the
biggest problems I saw was how right hand accuracy became incredibly difficult if a riff or
melody had string skipping. Constant, single string groupings of 16th notes or 16th note triplets
were doable but if there were string jumps in there, my accuracy went out the window...

Much like many other bassists who use this technique, I’d start the grouping of three
with my ring finger and would mostly just use the 3-2-1 pattern (Ring, Middle, Index). This
worked for me to an extent but I never really liked that I would have to start groupings on a
weaker finger. Logically, it made more sense to start on a stronger finger, like your middle
or index, but it felt strange to try to accent each grouping with those other fingers at higher
tempos. Even just playing 16th notes had it’s inherent challenges. Playing groupings of 4 with
three fingers presents the challenge of the accent changing on each beat which is again, very
difficult to maintain at top speeds. Many people I talked to about this seemed to just try to
wing it and would try get as close to the correct rhythmic subdivision as possible; this never
felt like a good enough answer for me.

After struggling with all of these problems for years, I started looking for other
possibilities of how to approach some of the songs I had to play. There were a handful of
tunes that prolonged this struggle but the real catalyst for this journey was the Exist song “Self
Inflicted Disguise.” Some of the more technical parts of this tune had been consistently kicking
my ass for years and even after diligent practice, regular finger style didn’t seem like it was
going to cut it. I can’t remember exactly what inspired me to try using the double thumping
technique (probably watching some video of Evan Brewer or Victor Wooten) but once I started
experimenting with it, I immediately knew I had found my answer. There was still a long road of
practice ahead of me but almost instantly the string skipping issues vanished, speed became
less of a problem, and complex lines seemed to become easier to pull off.

4 Progressive Thump
Introduction: Part 2
However, I wasn’t completely out of the woods yet. Just like tools, no one technique can
accomplish every task. You wouldn’t use a screwdriver to do the job of a hammer, so why should
a technique be any different? Like it’s name implies, double thumping is great for lines that have at
least two notes per string. But what if you have to alternate strings every note? It would be awkward
to have to switch back into a regular finger style hand position only to have to play a short string
skipping passage in between double thumping passages.

Around this time I was discovering the musics of great electric bassists Dominique di Piazza
and Matthew Garrison. Both of these incredible musicians have developed unique right hand
techniques where they use their thumbs to pluck the strings, like a classical guitarist, rather than
slapping through the string like like a typical bassist. Using your thumb to pluck the strings is nothing
new to the world of electric bass, but the way both of these players incorporate their other fingers
was new and inspiring to me and seemed not all that different from the technique I was trying to
develop. Integrating the techniques of these masters was the final key to answering the problems I
was facing with my right hand.

Even though this technique, functionally, works very similarly to the techniques popularized
by legendary bassists like Larry Graham, Victor Wooten, Evan Brewer, etc... I look at the way that I
use it as almost more of a classical guitar technique or a chicken picking technique than a slap bass
technique. Sure, it might be mental gymnastics, but I believe the way you perceive a technique can
affect how you end up using it and can affect your creativity in expanding it’s uses.

I hope this new way of working on double thumping will bring as much joy and musical growth
to you as it has for me. Just like I mentioned before, always try to find your own ways of applying it to
your music and always be searching for new possibilities of what can be done on the electric bass.
Happy practicing!

Progressive Thump 5
Chapter 1
Basic Double Thump Groupings

K
nowing what the basic groupings are is the obvious first step for getting this technique
under your fingers. Developing a strong command of these basic movements is half of
the battle of progressing through this technique, so make sure to go SLOWLY and be
acutely aware of any tension in your hand/wrist while practicing. This even includes parts of
your hand that you might NOT be using. We don’t usually think of our pinky on our picking
hand very much since most of us don’t use it, but tension on this side of our hand can easily
slow down everything else. Many of us, myself included, have been guilty of tucking and
clinching or over extending our pinky and ring fingers on our picking hand. This movement
obviously takes muscle energy to do which will only slow us down and will cause us to work
against ourselves. We need to work on developing finger independence so that we’re only
using the fingers/muscles/tendons that we need for any given task. This economy of motion
can be difficult to develop since some of these movements might feel strange in the beginning.

Since this might be a new technique for some of you, I implore you to go very slowly and pay
attention to the feeling and energy inside of your hand. Sometimes I like to imagine that my
hand is like a hollow glass filled with water. This visualization can help me zero in on how all of
the muscles in my hand feel at any given time. I relate practicing this type of bodily awareness
and visualization to a kind of meditation. If we slow our minds down and relax into what we’re
practicing, we can become much more productive in our practice sessions as well. Maintaining
relaxation, especially in the early stages, is incredibly important as it will allow you to develop
your speed and facility at a faster rate and will help you develop good habits that will keep you
away from injury.

One of the most important things to remember while you’re

working on this technique is that we want to always keep our
bodies in as neutral of a position as possible. This means
having a straight wrist and having your hand in what I called
the N shape.

If we completely loosen our hands, our fingers will have a slight curve to them and our thumbs
fall lightly to the side of our hand. We don’t want our fingers extended outwards or clinched
like a fist, as this takes muscle energy to keep our hands in these positions.

6 Progressive Thump
Chapter 1
Since we are sitting down most of the time when we practice, I recommend placing the bass on your
left thigh (if you’re right handed) instead of your right thigh like many bassists do. This does many
things that are beneficial to our overall technique:
1. It puts the bass directly in front of us which keeps
us from having to twist and unnecessarily activate
our core.
2. It naturally puts the neck of the bass at more of an
upward angle which allows us to keep our shoulders
lowered and relaxed.
3. It prevents us from bending the wrist of our picking
hand over top of the body.
4. It naturally straightens our back giving us overall better
posture while sitting.
5. It puts the bass in a position that is much closer to how it will be when we are standing.

Sitting in this position will instantly alleviate many of these problems naturally so you shouldn’t
have to overthink this posture too much. Just keep these concepts in the back of your mind to catch
yourself if things start to slip. I also recommend getting a guitar foot stool to rest your left foot on. It’s
not absolutely necessary, especially if you have your strap up at a proper height, but it can be helpful
to keep your bass in a stable position.

One question I’ve gotten a lot is how to protect your thumbnail. Obviously your nail can’t
develop a callous like the pads of your fingers can, so there have been people who have expressed
concern to me that they’ll wear through their thumbnail. If you see wear on your thumbnail, it is
absolutely fine as it will take a long time to actually wear through your nail. Plus, if you’re playing
lightly the wear will take much longer to accumulate.

However, one thing I’ve done to help add an extra layer of protection during periods of heavy
and extended practice time is actually something that was inspired by some of my classical guitar
friends. Many classical guitarists grow out the nails on their picking hand to get a clearer more
defined pick-like attack. Maintaining them can be very difficult so some guitarists opt to use press-on
acrylic nails instead. These are applied with a little super glue and will pop off after 3 or 4 days so
it’s much less of a commitment than constantly taking care of your real nails. The major difference
between their usage and mine is that I’m not using the acrylic nail itself as the picking material; it’s
only a means of protection for the top of the nail. Because of this, I’ll trim
the acrylic nail down to where my real nail would normally end, instead of
leaving the tip.

This adds a temporary means of protecting your nail that is easy to

apply and remove and won’t change the timbre of your double thumping.
You can easily find nail kits online that come with multiple different sizes
and shapes that can fit your thumb.

Progressive Thump 7
Chapter 1 Part Two
Now that we've gone over all of the necessary preparation and introductions, let's talk about
the technique itself. Like you can see from the examples, I recommend practicing each of these
groupings on a single string rather than spread out across different strings like you typically would
see with slap bass. Even though this can be a more complicated task, it will help you develop
your accuracy and will get you more used to making small, subtle movements which will become
increasingly more important to have control over as the complexity of the patterns increase.

8 Progressive Thump
Chapter 1
= 120
I think of approachingEx.
the
3 first
Ex. 1 –1. Down, Up
Basic Groupings Ex. 2
grouping (Down, Up) much like using
Ex. 4
D U I
1 D U 2
a pick. You want to strike
3 3
through
D U I M 4 D U M I

the string, downwards at roughly a

45 degree angle rather than striking
el.bs.

across the strings like you would if you

X X X were Xstrumming X chords. X X X X X X X X

1.2 Basic Double Thumb GroupingThis has been one of the main
Exercises
issues that I’ve seen a lot of bassists have while D trying
U to learn this
D U D U D U Sim...
technique.
5
Striking down into the6 string will give you a full and
7
clear 8

articulation that will also set your thumb up to rebound back upwards
into the string for a snappy upstroke.
X X
X X X X
You also want Xto make X sure Xthat both
X the down stroke and the up X X
X X
stroke haveX
anXeven and a matching tone. If one sounds brighter than
the other you will have problems in the future with accentuating riffs properly. The way to achieve this
Ex.the
is to strike 5 string with the bottom corner of your thumb where the nail starts to curve off.
D U
9 D U D U 10 D U 11 Sim... 12

I’ve seen many people to try to strike through the string back by
the thumb joint where you would typically hit the string in the standard
slap bass method, but this approach doesn’t work for this technique. X X
X X X X
This is where thinkingX of your
X thumb as a pick will come in handy.
X XUsing
X X X X
the part of
X yourX thumb that is the pointiest will make it much easier to

play accurate articulations at faster tempos.

Ex. 6
D U
Another
13 D U common
D U D Uissue D UI’ve14 seen
D U peopleDhave U Dis that
U 15 they’ve
Sim... locked their wrists
16 and thumbs
and are only moving from their elbows. This causes unneeded tension in the forearm and wrist
and can cause us to play much harder than we actually need to. Tightening up, especially at high
tempos, will put a much lower ceiling on our ability toX play X fast linesX and X will cause health problems
like tendonitis, carpal tunnel, X X tennis elbow,
X X
etc. in the future. Besides being unhealthy
X X
for your
X joints,
X
tendons andX X nerves,
X X
this
X X also effectively
X X eliminates
X X the ability
X Xto play accurately.
X X ImagineX Xtrying toX X X X

sculpt a statue with a sledgehammer; you could probably make something thats roughly the intended
shape butEx.it 7will be almost impossible to create all of the fine details that would make the work
truly great.
D U I D U I D U I
D U I
3 Sim... 3
17 3 3 18 3 19 20 3 3
The motion we want to use is more of a loose, flicking motion than a rigid strike. The only
movement that we really need to accomplish this is a light turn of3 the wrist. Your forearm will pivot
slightly but there shouldn’t be any change in the position of your X Xelbow.
X One thing you can do to get
X X X X X X
used to this movement X
is
X
to simply
X
Xloosen
X Xyour hands and shake your wrists down at your
X Xsides.
X To
X X X
do this, you’ll
X Xnaturally
X want to move your wrist in a slight twisting motion which is very similar to the
motion we want to use. If done correctly, your hand will be completely loose and your fingers should
flop aroundEx. like
8 jello. Like I’ve said many times already, developing good habits of playing lightly and
D U I
staying loose
D Uearly
I onD will
U allow
I your
D technique
U I to 3grow much faster. This becomes especially true 3
3 to introduce
3 your22fingers 23 Sim...
3 into the picking patterns. 3
when you21
start 24

Progressive Thump 3
3 9
X X X
X X X X X X
X X X X X X
 Chapter 1
Once you’ve gotten comfortable with alternating with your
oupings Ex.
Ex.12 – Down, Up, Index Ex.thumb
3 Ex. 4
you can start to incorporate your Index finger. You can
U
coverU a LOT of ground only
D by addingM just your index finger into
D I
U 2 3 3 D I M 4 U I
your picking patterns. Most of the time, I’m only using my thumb
and my index finger in my picking patterns and then adding my
middle when needed.
X X X X X X X X X X X X
Adding the index finger to the mix is actually fairly easy
since we’re already accustomed to using this finger and the
uble Thumb Grouping Exercises motions involved. There are many ways we can attack the
D strings
U 6
with
D ourUfingers but when7 I’m
D U
using them with this technique,
Sim... 8
I like to use a pluck that’s
more akin to how we pop strings while playing slap bass than what we typically use with regular
finger style. Even though it can feel good to pop the strings with a lot of force, we still want make
sure we’re playing lightly and that we
X
retain
X
our looseness. Since this type of finger attack is more
accentuated
X and
X aggressive, even if played lightly, it will inherently
X X X X
X Xblend better with the tone of our
X
thumb.
X X X

This, however, can still be a bit of a challenge because our thumb will still naturally sound
more
U aggressive.
U If we lighten up
D U on the attack with our thumb it will be easier to blend it with the
D 10 D 11 Sim... 12
timbre of our fingers and will allow us to have more fluid and acute control over the technique
later on down the road. We don’t want our thumb to sound noticeably different than our fingers so
working on blending the two is a must.
X X
X X X X
X X X X
X X X X

upings Ex.Ex.
Ex. 2 2 3– Down, Up, Index,Ex.
Middle
Ex.34 Ex.Ex.34– Down, Up, Middle, Index
I D U I
2 3 D 3U I M 3 4 DD UU I M MI 4 D U M I
D U
D U D U 14 D U D U D U 15 Sim... 16

X X X XX X X X X X XX XX X XX X XX X X X X
X X X X
X X X X
X X
X X X X X X X X X X X X X X
ble
s Thumb Grouping Exercises
D U D U
D U Sim...
D U Sim...
The next two groupings
76
D U I
get to be a little more complicated
87 8
because of the introduction of the
D Umiddle
I finger. This is where
D U I developing finger independence, accuracy, and maintaining relaxation is
3 3
3 18 3 19 Sim... 20 3 3
key. Even though we’re not using them, it can be very easy to inadvertently tense our ring and pinky
X fingers because ofX Xthe position our hand is in.
X With X our fingers lightly curled into the N shape, it can
X X X X
X X
X
3
X be easy to accidentally squeeze the rest of your hand into Xa fist when you pluck with your middle
X X X X X
X X X X X
X X X
finger. One of thingsXI’veXdone X to help keep my X hand
X loose
X is to play this grouping, on one string,
X X X X X X
X X incredibly
X slow and after each attack try to make my hand go completelyX limp. X The
X goal is to only be
D Uactivating the fingerD you’re U using in any given moment. If you’re attacking with your index finger, your
D U
middle finger should be completely
11
10 Sim...
D U 11 Sim...
12 limp. Working on being 12 able to “deactivate” your fingers as fast as
you possibly can will Dgreatly
U Iimprove your speed and fluidity.
D U I D U I
3 Sim... 3
3 22 3 23 24 3
X X X X

10
X X X X X X X X
X X X X X X
X X X X 3 X X Progressive Thump
3
X X X
X X X X X X
Chapter 1
Accuracy, especially when the grouping is played only on one string, can be much more of a
challenge than the grouping with just the index finger. One of the most important things is that you
stay in that loose and relaxed N shape. I’ve seen many people over-extend their fingers or move
their thumbs way more than they need to. You want to keep your fingers and thumb as close to the
string as possible and keep the path your fingers move on as small as possible. The less distance
that they travel means less work for them to do. Having everything in close proximity will help you be
able to react faster and will keep you relaxed. It may feel like walking on a tight rope in the beginning
but if you take it slow and be purposeful with your movements, this technique will become second
nature in no time!

Progressive Thump 11
Chapter 1
Basic Grouping Exercises

Now that we’ve got a basic command of each of these four motions, let’s start playing them across all
of the strings. It can be a good idea to focus on playing these groupings on one string in the beginning but we
want to get used to playing across the whole range of the bass. You don’t play every song only on one string
so why should we work on our technique in this way?
= 120
= 120
1. Basic
= 120Groupings Ex. 2 Ex. 3 Ex. 4
Most of these exercises
1. Basic
= 120GroupingsfocusEx.
Don2 moving
U the basic
I groupings
Ex. 3around by skipping strings
Ex. 4 in various ways.
1.D Basic Groupings Ex. 2 Ex.
D 3 Ex.
D 4
Pinpoint1 accuracy and control
U 2 Dcan be 3
aU difficultII thing to 3develop with this
U I
technique
M 4 so the more
U
you
M
can
I
get
1 1.
D Basic Groupings 2 Ex. 2 3U 3 Ex.
D 3 4 Ex.
D 4
U D U I M U M I
used to 1jumping
D inUbetween2 strings
D the3U better. And
I get creative
3 D with
U these
I exercises!
M 4 DTheseU are only
M a Ifew ex-
amples of
1 D
ways to work on 2moving the3 groupings around
U 3 so experiment with developing
D U I M 4 D
your own exercises.
U M I
el.bs.

Also make sure to add pitches to them as well. I wrote these exercises out as ghost notes just so that they
el.bs.
el.bs.

could be Xapplied to X any note on

X the fretboard. Playing them X as ghost notes can be helpful thoughX since
X it has
el.bs.

X X X X X X X
you focusXX solely onX
X the consistencies
X
X
X
Xof each attack.
X
X Try these
X
X exercises
X
X
X
X both
X
X ways!X
X
X
X
X
X
X
X
X X
1.2 Basic Double Thumb XGrouping XExercises X X X X X X X X X

Basic
5
1.2 Double
1.2
D Basic DThumb
Basic Double
U Double Thumb
U Grouping
Thumb Grouping
Grouping
6 D U Exercises
Exercises
D
Exercises
D
U
U 7 Sim... 8
5 1.2
D Basic
U Double
D ThumbU Grouping
D Exercises
U Sim...
Ex. 4 6 D U 7 8
5 D U D U D U 6 7 Sim... 8
D U
5 D U D U 6 D U 7 Sim... 8

X X
X X X X X X
X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X
X X X X X X
X X X X
Ex.
X 5 X
Ex. 5
Ex.9 5Ex.
D 5 U D U 10 D U
D
D
U
U 11 Sim... 12
D U D U D U U Sim...
9
9
Ex.
D 5 U D U
10
10 D U
D 11
11 Sim...
12
12
D U
9 D U D U 10 D U 11 Sim... 12

X X
X X X X X X
X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X
X X X X X X
X X X X
Ex. 6Ex.
X 6
Ex. 6
X
D U
13 Ex.
D 6 U D U D U D U 14 D U
D U
D U D U 15 Sim... 16
D U D U D U D U D U D U D U D U Sim...
13
13
Ex.
D U 6 D U D U D U 14
14 D U D U D U 15
15 Sim... 16
16
D U
13 D U D U D U D U 14 D U D U D U 15 Sim... 16

X X X X
X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X X X
Ex. 7Ex.
X X X X
X X7 X X X X X X X X X X X X X X
Ex. 7 D U I
Ex.
D 7U I D U I D U I D 3U I 3
D 73U 3U 3U D U I Sim... 3 3
17 Ex.
D U
I
I
D
D U
I
I
18 D
D U
I
I 3 19
Sim... 3 20
17 3 3 18 3 D 3U I 19
Sim... 3 20 3 3
17 D 3U I D 3U I 18 D 3U I 19 20 3 3
3 Sim... 3
17 3 3 18 3 19 3 20 3 3
3
X X X
X 3
X X
X X X
X X X
X X X X X X X 3
X X X X X X X X
X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X
X X X X X X X X X
X X X X X X

12 Ex. 8X
X X
Ex. 8
Ex.
D 8U I D U I D U I
D
D
U
3U
I
I
Progressive Thump3
D 83U 3U 3U Sim... 3
21 Ex.
D U
I
I
D
D U
I
I
22 D
D U
I
I
D
3U I 23
Sim...
24
3
21 3 3 22 3 D 3U I 23
Sim... 24 3 3
21 D 3U I D 3U I 22 D 3U I 23 24 3
3 3
 Ex. 7
D U I
D U I D U I D U I
3 Sim... 3
3 3 3 3 3

Chapter 1
17 18 19 20

3
X X X
X X X X X X
X X X X X X
X X X X X X
X X X

Ex. 8Ex. 8
D U I
D U I D U I D U I
3 Sim... 3
21 3 3 22 3 23 24 3

3
3
X X X
X X X X X X
X X X X X X
X X X X X X
X X X

Ex. 9Ex. 9
D U I
Ex.
D U9 I D U I D U I D U I D U I
3 D U I Sim...
3
25 3 3 3 3 26 3 D U I 3 D U I 27 3 3 28 3 3 3 3
D U I D U I D U I D U I D U I D U I Sim...
3 3
25 Ex.3 9 3 3 3 26 3 3 D U I 27 3 3 28 3 3 3 3 1/17
D U I
Ex.
D U9 I D U I D U I D U I D U I
3 D U I 3 Sim... 3 3
25 3 3 3 3 26 D 3 D U I 3 U I 3 3 3 3 3 3
D U I D U I D U
I I D U
I I X D U D U X
3 X 27 Sim... X X
3 X
28
3 X
X X D U I 27
3 X
X X
25 3 3 3 3 X 26
X X 3 3 X X X 3 X X X 3 28 3 3 X
X X 3 3
X X X X X X X X X X X X
X X X X X X X X X X X X X X X 3 X X X 3 X X X X X X X X X X X X
X X X X X X
X X X X X X X X X
X X X
X X X X 3 X
X 3 X X X X
X X X X X
X X X
X X X X X X
Ex. 10 X X X X X X X X X X X X
Ex. 10
Ex.
29 10
X
XD X UX I
X X
M XD X UX XI X MX 30 XD X UX I
X X X D U
M X X X
I M X X X
31 Sim...
X X X
X X X
32
X X X X X X X X X
X X X

X X X X X X
X X X X X X X X X XD X UX I M X X X X X X X X X X X X
29 D U I M D U I M 30 D U I M 31 Sim... 32
Ex. 10
D U I M
29 Ex.
D 10U I M D U I M 30 D U I M 31 XSim... 32
D U I X X X
D U I M D U I M U I M X X X XM Sim... X X X X
29 30 XD X X X 31 32 X X X X
X X X X
X X X X X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X
X X X X X X X X
X X X X X X X X
Ex. 11 X X X X X X X X X X X X
X X X X XD XU XI XM X X X X X X X X
XD XU XI XM
33 Ex. 11 D U I M X XU XI
34 D
XM 35 Sim... 36
X X X X
X X X X X X X X
X X X X D U I M
Ex. 11
33 D
Ex. 11
U I M D U I M 34 D U I M 35 Sim... 36

D U I M
33 Ex.
D 11U I M D U I M 34 D U I M 35 Sim... 36
D U I X X X X
U D U I U I M X X X XM X X X X
33 D I M
X X X X
M 34 D 35 XSim...
X X X 36
X X X X
X X X X X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X X X
X X X X X X X X
X X X X X X X X
Ex. 12 X X X X X X X X X X X X
M X X
X X X X X X M X X X X X X X X
XD UXI MXD UXI DUI M
37 Ex. 12 MXD UXI MXD UXI 38 XD UXI MX X
D U I MD U I X X
39 Sim...
X X
40 X X X X
X X X X M DUI M M
37 D U I MD U I MD U I MD U I 38 DUI M D U I MD U I 39 Sim... 40
Ex. 12
Ex.37 12
Ex.
D U 12
I MD U I MD U I MD U I
DUI M M
D U I MD U I 38 DUI M
39 Sim...
M
40
DUI M X X X XM
M XXX X
37 D U I M D U I M D U I M D U I D U I MX X X X D U I M D U I 39 Sim... X X X X 40
X X X X 38 XXXX XXX X XXXX
XXXX XXXX XXXX XXXX
XXXX XXXXXXXX XXXX XXXX XXXX XXXX XXXXXXXXXXXX
XXXX XXXX
XXXX XXXX XXXX XXXXXXXX XXXXXXX XXXXX XXXX XXXX
XXXX XXXX
2. Groupings Starting X XWith
X X Fingers XXXX XXX X XXXX
XXXX XXXX XXXX XXXX
XI X X X D X X X XUX X X X IXXXX D X X X UX XI X X X D X X X XU D X X X X XUX
IXXXXXX
2. Groupings
X X3X X
Starting With Fingers
41 3 42 3 3 XXXX
XI X X X D X X X XU IXXXX D X X X UX XI X X X D X X X XU IXXXX D X X XUX
41 3 Starting With Fingers
2. Groupings 3 42 3 3
I D U I D U I D U I D U
2. Groupings Starting With Fingers
41
I
3D U I
3D U
42
I
3D U I
3D U
41 3 3 42 3 3
X
Progressive
X
Thump
X X X X X X X X X X
13
X X X X X X X X X X X X
Ex. 14
43 XI DX U X M XI DX U X M 44 XI DX U X M XI DX U X M
Chapter 2
Groupings Starting With FIngers

O
ne of my absolute favorite things about this technique, and the main reason I gravitated
towards experimenting with it in the beginning, is that you don’t have to always start a
grouping with a down thumb. You can just as easily start a grouping with your index,
middle, or even ring finger. This makes string skipping incredibly simple and it also gives you
many more options for complex, but accurate, right hand picking patterns.

Many riffs all throughout the history of metal involve melodic lines played on higher strings that
alternate back and forth between repetitive and consecutive notes on the lower strings. Obviously
this has been doable with finger style, or with the use of a pick, but applying double thumping to
these riffs eliminates most of difficulties or hassles that these other options present; speed becomes
much easier to manage, you hardly have to shift your hand position at all, and you don’t have to
fumble with getting a pick out to play one or two parts in a song where you might need one.

However, it can be a challenge to get used

to the feeling of playing all of these groupings
backwards. Since your thumb inherently has a
more aggressive sound than the pads of your
fingers do, it can be difficult to accentuate the
beginnings of each of these backwards groupings
with your fingers. No matter the context, musical
style or technique, we want to make sure we’re
clearly accentuating whatever rhythmic subdivision
we may be playing so that our lines clearly express
where the pulse is.

When you’re playing through these

exercises, make sure to accentuate the top of each
grouping very clearly. It can help to over-emphasize
these accents in the beginning while you’re still
getting used to these backwards motions. The
goal is to be able to play and feel these accents
with our fingers just as strongly as we do when
we’re using our thumbs. Get creative with how you
work on these as well! You can try playing a non-
muted note on the downbeat of each grouping or
alternate between two notes to further emphasize
the beginning of the grouping.

14 Progressive Thump
 X X X X

Ex. 12
Ex. 12 M DUI M M

Chapter 2
37 D U I MD U I MD U I MD U I DUI M D U I MD U I Sim...
M 38 DUI M M 39 40
37 D U I MD U I MD U I MD U I 38 DUI M D U I MD U I 39 Sim... 40

XXXX XXXX
XXXX XXXX
XXXX XXXX XXXX XXXX
XXXX XXXX XXXX XXXX
XXXX XXXXXXXX XXXX XXXX XXXX XXXX XXXXXXXX XXXX
Ex. 13 XXXX
XXXX
XXXX XXXX XXXX XXXX XXXX XXXX XXXX
XXXX

2. Groupings Starting With Fingers

2.I Groupings
D Starting
U With Fingers
I D U I D U I D U
41 I 3D U I 3D U 42 I 3D U I 3D U
41 3 3 42 3 3

X X X X X X X X X X X X
X X X X X X X X X X X X

Ex. 14
43
Ex. 14
Ex.
I 14 D U M I D U M 44 I D U M I D U M
43 I D U M I D U M 44 I D U M I D U M

X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X

Ex. 15
Ex. 15
45 M D U I M D U I 46 M D U I M D U I

Ex. 15
45 M D U I M D U I 46 M D U I M D U I
Ex. 15 2/17
45 M D U I M D U I 46 M D U I M D U I
2/17

X X X X X X X X X X X X X X X X

Ex.
X 16 X X X X X X X X X X X X X X X
47 M I D U M I D U 48 M I D U M I D U

Ex. 16
Ex. 16
X X X X X X X X X X X X X X X X

47 M I D U M I D U 48 M I D U M I D U
Ex. 16
47 M I D U M I D U 48 M I D U M I D U

X X X X X X X X X X X X X X X X

Ex.
X 17 X X X X X X X X X X X X X X X
49 I M D U I M D U 50 I M D U I M D U
X X X X X X X X X X X X X X X X
Ex. 17
Ex. 17
49I
Ex. 17
M D U I M D U 50 I M D U I M D U

49 I M D U I M D U 50 I M D U I M D U

X X X X X X X X X X X X X X X X

2.2
X String
X Skipping
X Within
X The
X Groupings
X X X Ex.
X 19 X X X X X X X
D U I D U I
X X D X U X IX X D X U X X X X X X X X X
51 I 52 3 3
2.2 String Skipping Within The Groupings Ex. 19
D U I D U I
51 I
2.2 String DSkipping UWithin The
I Groupings
D U 52
Ex. 19 3 3
3 3 D U I D U I
51 I D U I D U 52 3 3
X X X X

15
3
X X 3
X X X X X X
Progressive
3
Thump 3
X X X X
X X X X X X X X
Ex. 20 Ex. 21
X X XU XU
X X X X XI XD XI XD
 45
45 M D U I M D U I 46
46 M D U I M D U I

Chapter 2 X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

StringEx.
Ex.Skipping
47
47
16
16
M
M
Within The Groupings
II D
D U
U M
M II D
D U
U 48
48
M
M II D
D U
U M
M II D
D U
U

This section includes the vast majority of the basic string skipping movements that are
involved with using this technique. Understanding how each of these groupings function as smaller
cells will make it much easier to apply them to pre-existing riffs or to new music that you may be
workingXX on. Like
X
X
we've
X
X
all
X
X
seen,
X
X
most
X
X
riffsXX and XXmelodicXXlines XXare usually
X
X X
X
divided
X
X
intoX
X
two XXor three
X
X
note groupings per string. These don't always neatly repeat in a continuous fashion so because
of this, Ex.
we17
Ex. need to be able to discern when and where to implement each of these right hand
17
groupings. Since we mayU not be able to stick toU only5050one grouping for anU entire riff, MbeingD aware
49 II MM D
D U II M
M D
D U II M
M DD U II M D UU
49

of the possibility of switching between these groupings will only help you in expanding into more
complex territory.

X X X X X X X X X X X X X X X X
String
X
Skipping
X X
Within
X
The
X
Groupings
X X X X X X X X X X X

Ex. 2.2
18String
2.2 String Skipping
Skipping Within
Within The
The Groupings
Groupings Ex.
Ex.19
Ex.
D
19
19
U II D U II
D U D U
I D U
U II D U
U 33 33
51 I
51 D D 52
52

33 33

X
X X
X X
X X
X
X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
20 20
Ex. 20 Ex.
Ex.21
Ex. 21
21
II D
D U
U II D
D U
U
D U
U II D U
U II 33 33
53 D
53 D 54
54

33 33

X
X X
X X
X X
X X
X X
X X
X X
X
X
X X
X X
X X
X

Ex. Ex.
22 22
Ex. 22 Ex.
Ex.23
Ex. 23
23
II D
D II D
D M
M D
D M
M D
D
55 U
U M
M U
U M
M 56 U
U II U
U II
55 56

X
X X
X X
X X
X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
24 24
Ex. 24
Ex.
Ex.25
Ex. 25
25
M
M II M
M II II M
M II M
M
D U
U D U
U D U
U D U
U
57 D
57 D 58
58 D D

X
X X
X X
X X
X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

3/17
3/17

16 Progressive Thump
Chapter 2
Ex. Ex.
26 26
Ex. 26
Ex.
Ex.27
Ex. 27
27
M
M II M
M II II M
M II M
M
U M I D U M I D U I M D U I M
D U U U U
59 D
59
59 D U D
D U 60
60
60
D
D U D
D U

X
X X
X X
X X
X
X X X X X X X X X X X X X X X X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
28 28
Ex.
Ex. 28
28
Ex.
Ex.29
Ex. 29
Ex. 29
29
II M
M II M
M M
M II M
M II
I M I M M I M I
61 D
D U
U D
D U
U 62 D
D U
U D
D U
U
61
61 D U D U 62
62 D U D U

X
X X
X X
X X
X
X X X X X X X X X X X X X X X X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
30 30
Ex.
Ex. 30
30
Ex.
Ex.
Ex.31
31
Ex. 31
31
63 M
M III D
D U
U M
M III D
D U
U 64 III M
M D
D U
U III M
M D
D U
U
63 M
63 D U M D U 64
64 M D U M D U

X
X X
X X
X X
X X
X X
X X
X X
X
X X X X X X X X X X X X X X X X
X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
32
Ex.
Ex.
D
32
32
32 U M II D U M II
Ex.
Ex.33
Ex.
Ex.
D
33
33
33 U II M D U II M
65 D
65 D U
U M
M I D
D U
U M
M I 66
66 D
D U
U I M
M D
D U
U I M
M
65 66

X
X X
X X
X X
X X
X X
X X
X X
X
X X X X X X X X X X X X X X X X
X
X X
X X
X X
X X
X X
X X
X X
X

Ex. Ex.
34
Ex.
D
34
34 U U
Ex.
Ex.
Ex.35
35
35 U U
67 D
67 D U
U III M
M
M
D
D
D U
U III M
M
M 68
68
D D
D U
U
M
M
M III D
D
D U
U
M
M
M III
67 68

X
X X
X X
X X
X
X X X X X X X X
X
X X
X X
X X
X
X
X X
X X
X X
X X
X X
X X
X X
X
X X X X X X X X

Ex. Ex.
36
Ex.
Ex.
D
36
36
36 U II M D U II M
Ex.
Ex.37
Ex.
Ex.
D
37
37
37 U M II D U M II
69 D
69 D U
U I M
M D
D U
U I M
M 70
70 D
D U
U M
M I D
D U
U M
M I
69 70

X
X X
X X
X X
X
X X X X X X X X
X
X X
X X
X X
X
X
X X
X X
X X
X X
X X
X X
X X
X
X X X X X X X X

Ex.
Ex. 38 Ex. 39
I 38
II M
M II M
M
Ex.
M 39
M II M
M II
M I M M I M I
71 D
D U
U D
D U
U 72 D
D U
U D
D U
U
71
71 D U D U 72
72 D U D U

Progressive Thump 17
X
X X
X X
X X
X X
X X
X X
X X
X
X X X X X X X X X X X X
X
X X
X X
X X
X
X
X X
X X
X X
X
X X X X
 Ex. 36 Ex. 37
69 D U I M D U I M 70 D U M I D U M I

Chapter 2 X
X
X
X
X
X
X
X
X X X X X X X X

Ex. Ex.
38 38 Ex. 39
Ex. 39
I M I M M I M I
71 D U D U 72 D U D U

X X X X X X X X
X X X X
X X X X

Ex. 40
Ex. 40 Ex.
Ex.41
41
I M I M M I M I

73 D U D U 74 D U D U
4/17

X X X X
X X X X X X X X
X X X X

2.3 Basic String Skipping Exercises

D U I D U I D U I D U I
I I
3 3 D U I D U D U D U I 3 3
75 76

3 3 3 3
7 7
7 5 5 5 5 7
7 5 5 5 5 7
7 5 5 5 5 7
5 5 5 5

Ex. 43
D U I D U I
D U I D U I
D U I 3 I I 3 D U I
3 3 D U D U 3 3
77 78

3 3
7 7
7 7
7 7
7 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Ex. 44
I D U I D U
3 3 3 3
79 80

3 3 3 3
7 7 7 7
7 7 5 5 7 7
7 7 5 5 7 7
7 7 5 5 7 7
5 5

Ex. 45
D U I M
D U I M D U I M D U I M
81 82

18 7 7 Progressive Thump
7 7 7 7
7 7 5 5
5 5 5 5
5 5
Chapter 2
Basic String Skipping Exercises
After getting comfortable with playing those basic groupings, you should start applying them
to melodic passages. I’ve always stressed the idea of creating your own exercises because it forces
you to critically think your way through the concepts at hand and it allows you to develop a more
personal relationship to them at the same time. This section includes a handful of basic exercises
that I’ve used to start applying this technique to real music. Even though I wrote most of these
exercises centering around the 5th fret, the key of E, etc. you want to practice these all over the bass
and in every key. These examples are more of guide to show you the basic right hand shapes and
movements instead of a strict, set position to play them in.

Ex. 40 Ex. 41
Basic String Skipping Exercises
I M I M M I M I

73 D U D U 74 D U D U

• The Ladder – Using your index or middle fingers as a means to catapult your thumb onto a
new string is a huge part of this technique. GettingEx.
Ex. 40
used
41
to reseting your thumb onto a new
stringI canXM be a challenge Iso this
X X
XM is a great and simple
X X
M exercise
XI
X
to help
X
youM getXIcomfortable
X X
with
that
73
X
motion. D U X D U 74
X D U X D U

Ex. 42
2.3 Basic String Skipping Exercises
D UX I D U I D U I D U I
X I X I X
3 X 3 X D U I XD UX D U X
D U X I 3 X 3 X
75 76
X X X X

3 3 3 3
2.3 Basic String Skipping Exercises
D U I 7 7 D U I
D U I 7 5 5 I 5 5 I 7 D U I
3 3 7 5D 5U I D U D U 5D 5U I 3 7 3
75 7 5 5 76 5 5 7
5 5 5 5

3 3
• Stationary
Ex. 43 Ladder – This exercise
3 demonstrates how using your3 index finger makes the
D U I 7 7 D U I
difficulty
D U ofI string
D skips
U I almost completely
7 5 35
7 5 5 vanish. It
I
5 allows
5
I
you5 to 35cross
7 all
D of Uthe I strings
7 D Uwith
I the
3 3
utmost
77
5
3ease
5
7 because
5 5 of not having toD move
U the 78position
D U of your arm. 5 5
5
3
5
7

Ex. 43
Ex. 43
D U I D U I
D U I D U I
3 3 I
3 I 3 D U I D U I
3 3 D U 7 D U 7 3 3
77 7 78 7
7 7
7 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Ex. 44 3 3
I D U I D U 7 7
7 7
3 3 7 3 7 3
79 80
7 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

3 3 3 3
Ex. 44
I D U 7 7 7 7
I D U 7 7 5 5 7 7
3 73 7 5 5 73 7 3
79 7 7 5 80 5 7 7
5 5

Ex. 45
Progressive Thump 3 3 3 3
19
7 7 D 7 U 7 I M
D U I M D 7 U 7 5I M 5 7 7 D U I M
81 7 7 5 82 5 7 7
7 7 5 5 7 7
 D U 3 D 3U 3 D 3 U D U
73 74
7 7
2.3 Basic String Skipping Exercises 7 5 5 5 5 7

Chapter 2
D U I7 D U I7 5 5 5 5 D U I7 D U I7
5 5 I I 5 5
5 35 3 D U I D U D U D U I 3 5 35
75 76
X X X X
X X X X X X X X
X X X X
Ex. 43
D 3U I 3 3 D 3U I
D U I D U I
D U I 3 7I 7I
3 D U I
2.3 Basic 3
3 String Skipping Exercises 5D 5U 5U
3 3
77 7 78 5 D 7
U 7I 5 5 5 5 7I
3 – Like I’ve mentioned before, we want to
I get used to playing
U
all of5D these
D D
• Reverse
D
5
U
35
7Ladder
I 5 5
D U I D U
I
76 D U D U I
5 5
3
U
35
7I

groupings in as many different variations as possible. One of the easiest ways to do this is
75

toEx.
just
43play a grouping backwards, upside 3 down, or both! 3 It’s much harder to cross strings
3 3
leading
D U
with
I
your
D Uthumb
I rather
D 3 than one of your
U
3
I
7
7 fingers but7 it’s a3motion Dwe U
D
3
U I
7
needI toDgetU I
I I
comfortable
77 3 7
with.
3 7
7 5D 5U
7
78 5D 5U
7
7
3 7 3 7
5 5 5 5 7 55 55 5 5 5 5 55 55 5 5 7 5 5
7 5 5 5 5 7
Ex. 44 5 5 5 5

Ex. 44
Ex.
I 43D U I D U 3 3
3 3 D U I 7 7 D U I 3 3
79 D U I 80 D U I
D U I 3 7 I I 3 7 D U I
3 3 7 D U D U 3 7 3
77 7 78 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3 3 3 3
7 7 7 7
Ex. 44 7 7 5 5 7 7
I 7
D 7
U 5 5 7 7
I D
7 U
7 5 3 3 5 7 7
5 3 3 7 7
3 5 3
79 80
7 7
7 7
7 7
5Ex. 45
• Octave Jumps 5 5
–5Out of 5all of5
3
these 5examples,
5
3 this5
one
5
D 3 U
is probably
5
I
5
3 M
the most
5 5
similar5 to a
5
typical
usage of the double thumping technique.7 This shape is 7 very comfortable to play and is very
D U I M D U I M D U I M
81 82
7 7
Ex. 44 7 7 5 5 7 7
useful
I
but 7Ucan5I be 7Ddifficult
7D
7U 5to play accurately when it’s skipping 5 around to different
5
7 7 strings.
7 7
5 3 3 3 5 3
79 80
Ex. 45 7 7
7 7
5 5
7 7
7 7
Ex. 45 5 5 5 5
5 5
3 3 D 3 U I 3 M
D U I M D U I M D U I M
81 82
7 7 7 7
7 7 5 5 7 7
Ex. 46 7 7 5 5 7 7
7 7 5 D U I M D U I M 5 7 7
5 D U I M D U I M 5
I M I M
D U I M D U D U 7 7 D U I M
83 7 7 84 7 7
7 7 5 5
Ex. 45 5 5 5 5
5 5 D U I M
D U I M D U I M D U I M
81 82

Ex. 46
• Stationary Double Jumps – Here’s
D U I7 M
7 another
7 7
variation of7 a 7previous
D U I7 exercise;
M
7 this one alters the
D U I7 M7 I M I M D U I7 M 7
Stationary
83
D
5
U
5
7 Ladder
I M
7
5 5
from Ex.
5
43
5
by adding
D U the middle
75 5 7 84 D5
finger
U
5
to7the
5 5
shifting
7
5
higher
5
strings.
D U Another
75 5 7
I7 M
7

example that would be much

7 7
5
more
5
difficult to play without the use of double
5 5
5
thumping.
5
5 5

Ex. 46
Ex. 46 7 7 7 7 5/17
D U 7I 7M D U 7I 7M
D U 7I 7M I M I M D U 7I 7M
D U 7I 7M D U D U D U 7I 7M
83 5 5 5 5 5 5 5 5 84 5 5 5 5 5 5 5 5

7 7 7 7 5/17
7 7 7 7
7 7 7 7
7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5/17

20 Progressive Thump
Chapter 2
• The Double Ladder – This combination of a few of the previous exercises includes both the
index and middle finger to act as a means of crossing strings. There are many examples I’ve
come across throughout my career where I needed to use this shape so getting comfortable
with it is a must. It’s not that complicated of a motion to get use to since our hand is
already set up in a position where our thumb, index, and middle fingers are covering three
consecutive strings.
Ex. 47
Ex. 47
M D U M
D U I D U I M I D U I M
85 86

7
7 7 7
7 7 5 5 7
7 5 5 5 5
5 5
Ex. 47
M D U M
• Ex.
D 48
Double
85 Ladder Inversions – We’ve
M I
U
M
allU used some form
I
M I D U M
of
I
chromatic exercises
D DU
to work
I
M I
on U I
D
M
86
I M

left hand finger independence so why not try to apply these to double thumping? This takes
87 D U D U M I 88 D U I
89 D U M I 90 D U D U sim...

the Double Ladder exercise, forwards and backwards, and moves it chromatically across the
7
fingerboard. Another7 great exercise to
7
add 7 to your daily warm-ups!
5 5
7
7
7
7 5 35 3 1 1 5 5
5 5 3 3 1 1 1 1
Ex. 48 3 3
1 1
1 1 3 3
3 3
1 1 4 4
2 2
1 1 3 3 2 2
Ex. 48
M I M D U M D U M I M I
U U U I U U D U sim...
87 D D M I 88 D I 89 D M I 90 D
Continue Up The Fretboard..
91 92 93 94

3 3 1 1
3 3 1 1 1 1
3 3 4 4 21 21 3 3 1 1 4 4 5 5
4 4 1 1 2 2 2 2 3 3 5 5 2 2
1 1 2 2 4 4 2 2 5 5 3 3 2 2 3 3
4 4 3 3
4 4 3 3

Continue Up The Fretboard..

91 Ex. 49 92 93 94
M
U U M U M U M sim...
95 D I D I 96 D I D I 97 98

4 4 2 2 5 5
4 4 2 2 2 2 5 5
2 2 4 4 2 2 5 5 3 3
4 4 3 3
2 4 6 7 4 94 3 3 11 13 14
2 4 6 7 9 11 12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
Examples 49 through 53 show how you can use these right hand groupings to practice and
Ex. 49
play through scales.
M I’ve always been interested in trying to create exercises that can work on
Ex.
D 50 M D U I M
multiple thingsM at the same 96time. Practicing scales isn’t always the most fun98thing in the world to
95 U I D U I M D U I 97 sim...
D U M sim...
D U I
do but it’s an absolute necessity for our development. Finding ways to keep102it interesting and fresh
99 D U I D U I M 100
M I 101

is important! And remember, play these exercises in every key and in multiple different positions
across the 2fretboard.
2 You
4
4 can even try6 to apply them
6 7
7 to different
9
9 scales
11
like
11 the Harmonic
12
13 or 14 14
Melodic0 0Minor
2
1 too!
2 2
4
2 4 4
6
4 5 5
7
6 7 7
9
7 9 9
11
9 11 11
12
11 12 12
14
13
0 4 2 5 4 7 5 9 7 11 9 12 11 14 12 16

Ex. 50
M D U sim...
99 Ex.
D 51 D U M

21
U I D U I M 100 I M I 101 102

103 I
Progressive
D U M I D Thump
U M 104 I
D
U M I D U M
105
sim... 106
 1 1 3 3 1 1 3 3 2 2
3 3 1 1 1 1
3 3 1 1 3 3 1 1 4 4
1 1 3 3 2 2
3 3 1 1

Chapter 2
1 1 3 3 2 Continue
2 Up The Fretboard..
3 3 3 3 1 1 1 1 1 1
91 3 3 3 3 92 1 1 1 1 933 3 1 1 1 1 94 4 4
3 3 1 1 1 1 3 3 3 3 1 1 4 4 2 2
1 1 1 1 3 3 3 3 2Continue
2 2 2
Up The Fretboard..
1 1 3 3 2 2
91 92 93 94

4 4 2 2 Continue Up The Fretboard..

5 5
91 4 4 2 2 92 2 2 93 94 Continue
5 5 Up The Fretboard..
91 2 2 92 4 4 93 2 2 5 5 94 3 3
4 4 3 3
4 4 2 2 4 4 3 3 5 5
Ex. 4494 2 2
2 2
4 4
2 2
2 2 5 5
5 5
3 3
4 4 3 3
4 4 2 2 5 5
4Ex.4 49
4 4 3 3
4 4 2 2 2 2 2 2 5 5 5 5
4 4 2 2M 2 2 4 4 2 2 2 2 5 5 5 5 3 3
95 D U 2I 2 D U I M 96 D U4 I 4 M D U 4 I 4M 97
2 sim...
2 5 5
98 3
3 3 3 3
4 4 4 4 3 3 3
Ex. 49 4 4 3 3
M
U U M U M U M sim...
95 D I D I D I D I
Ex. 49 96 97 98
Ex. 49 M
U M
2 U M
4 U M
6 U M
7 sim... 9 11 98 13 14
95 D I D I 96 D I M D I
M 97
95 D U I2 D U I4 M 96 D U I6 D U I7 97 sim... 9 11 98
12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
2 4 6 7 9 11 13 14
2 4 6 7 9 11 12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
Ex. 50
Ex. 50
D U I
2
2
2M 4
4
4 6
M 100 4 D 4 U 6 I
6
6M D U 7
7
7M sim... 9
9
9 11
11
11
13
12 13
14
14 14
990 0 2 2D 2U 4I 5 5 7I 101 7 7 9 9 9 11 102 11 11 12 12 12 14
Ex.
0 50
0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
M D U M sim...
U U D U M
99 D I D I M 100 I I 101 102
Ex. 50
Ex. 50 M D U M sim...
U 1 U 2 D U 4
M 6 7 9 11 13
99 D I M D I M 100 I D U I M 101 sim... 102
99 D U I2 D U I4 M 100 D U I6 M I7 101 7
9 11
102
12 14
0 4 2 5 4 7 5 9 11 9 12 11 14 12 16
1 2 4 6 7 9 11 13
2 4 6 7 9 11 12 14
0 4 2 5 4 7 5 9 7 11 9 12 11 14 12 16
Ex. 51
1 2 4 6 7 9 11 13
2 1 D 4 2 D 6 4 7 6 M 9 7 11 9 12 11 14 13
0
103 I 4 D 2 U M 2 I 5 4 U M 104 4 I 7 6U M 5 I 9 D 7 U 1057
sim...
11 9 9 12 11 106 11 14 12 12 16 14
Ex.
0 451 2 5 4 7 5 9 7 11 9 12 11 14 12 16
Ex. 51
I D U M I
D
U M 104 I
D
U M I D U M sim...
103 105 106
Ex. 51
Ex. 51 D
D
103 I
D U 4
M I D3 U 5
M 104 I D U M
7 I D U M9 sim... 10 12 14 16
U M 105
M 105 106
103 I3
D2 U5 M I U7 M 104 I 5 U9 I D7 10 sim...9 12 10 14
106
12 15 14 17
5 7 8 10 12 14 15
4 5 7 9 10 12 14 16
2 5 3 7 5 9 7 10 9 12 10 14 12 15 14 17
3 5 7 8 10 12 14 15
Ex. 524 5 7 9 10 12 14 16
2D 5 4U 3I 7 5 5 9 7 7 10 9 9 12 10 10 14 12 12 15 D14 U 14 17I 16
3 D 8 I 12 U
107
2
3 Ex. 52
5 3 55 3 7 D U7
7
5 I 9
8
7U 10
108
10
10 D9 12I 10 14
12
D U 14 I 12 15
14
153 14 17
15
D U I D U I
Ex. 52Ex. 523
107 D U I D U
3
I
108
D U
3
I D U I 3
Ex.
D 52 U I 3 3 D U I
D I U
107
D 3U I D U I
D
U
I4 108
D
U
I D U I D 3U I
107 3 D U I4 6 3U7 108
D7
36
I4 D U I 3
4 5 37 7 35 4
5 7 7 5 4
3 4
4 6 73 7 63 4
4 5 73 3 7 53 4
5 7 3 3 7 5 4 6/17
4
4 6 7 4 7 6 4
4 5 7 4 6 7 7 6 4 7 5 4
5 7 4 5 7 7 5 4 7 5 4 6/17
5 7 7 5 4

6/17
Ex. 53 6/17

Ex. 53
M D U D U
D U I I M D U I M I M
109 110

3 5 7 5 3
3 5 6 6 5 3
3 5 6 6 5

111

22 Progressive Thump
Chapter 3
Double Thumping Riff Applications

P
laying the basic exercises in the previous two chapters is an absolute necessary evil to getting
a handle on this technique. It may seem like slow, monotonous work in the beginning but it will
allow you to develop a strong foundation and will allow you to develop much faster. Practice
precisely and slowly!! However, I’ve always felt that the faster you can start making music with a
concept or a technique the better. The end goal is to be using these techniques out in the real world
so we might as well be trying to make music with them right from the start.

This chapter includes some basic examples of short, two to four bar riffs that employ the
double thumping technique. Most of these exercises are stylistically similar to shapes that are
typically used in metal vocabulary so try to apply them to your own music! All of the tempo markings
notated by each example are just target tempos that I originally envisioned for each of the riffs.
However, you should start much slower when you first approach them. I’ll usually start somewhere
between 50% - 75% of the target speed at first to make sure I have a passage comfortably under my
fingers and then ramp the speed up slowly from there.

Progressive Thump 23
 3 5 6 3 5 6 6 5 3 6 5
3 5 6 3 5 7 5 3 6 5
3 5 6 3 5 7 5 3 6 5 3
3 5 6 3 5 6 6 5 3 6 5
3 5 6 6 5

Chapter 3
111
111
111
111

Ex. 54
3.
3. Double
Double Thumping
Thumping Riff
Riff Applications
Applications
3. Double
=
3. = 135 Thumping Riff Applications
135
Double Thumping Riff Applications U D U D U D U D U D U
U
D = 135 D U D U D U D U D U D U D U D U D U D U D U D U
112 U
D = 135 D U D U D U D U D U 113 D U D
112 113 U D U D U D U
D U D U D U D U D U D U D U D U D U D U
112 D U D U D U D U D U D U 113 D U D D U D U
112 D U D U D U 113

3 3 5 5 3 3
4 4 4 4 4 4 3 3 5 5 3 3 4 4
3 3 3 3 3 3 3 3 4 4 4 4 3 3 3 3 4 4 4 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 5 5 3 3
4 4 4 4 4 4 3 3 5 5 3 3 4 4
4 4 4 4 4 4 4 4
Ex. 55
Ex. 55
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Ex. 55
=
= 180
Ex. 55
180
U
U
I
I D
Ex. 55 D
D
D U
U
I
I D
D
D
D
114 U
D = 180 I U I 115 D U 116 D U I D U D 117 U U D U
114 U
D = 180 I U I 115 D U 116 D U I D U D 117 U U D U
D U I D D
D U I D U I D U U U U D U U
114 D U I 115 U 116 D U
I D
U
D 117 U U
D
U
114 115 116 D I D D 117 D

5 (5)
7 5 (5) 5 7 5 7 8 (8) 7
0 0 7 0 0 0 0 5 0 6 0 0 7 5 7 8 (8) 7 3 3 3 3
0 0 0 0 5 (5) 0 0 0 6 0 0 3 3 3 3
7 5 (5) 5 7 5 7 8 (8) 7
0 0 7 0 0 0 0 5 0 6 0 0 7 5 7 8 (8) 7 3 3 3 3
0 0 0 0 0 0 0 6 0 0 3 3 3 3

Ex. 56
Ex.
Ex. 56
56
=
= 140
Ex. 56
140
Ex. 56 I
I
D
D
U
U
D
D
U
U
I
I I
I
D
D
U
U
118 U
D = 140 D U D U D U 119 I D U I D U I D U
118 U
D = 140 D U D U D U 119 I D U I D U I D U
I D U D U I I D U
D U D U I D U D U I D U D U I D U I D U I D U I D U
118 D U D U D U D U 119 I D U I D U I D U
118 119

5 6 5
3 3 3 3 5 3 3 3 3 6 3 3 3 3 5 3 3 6 3 3 4 4 4 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 6 3 3 4 4 4 1 1 1
5 6 5
3 3 3 3 5 3 3 3 3 6 3 3 3 3 5 3 3 6 3 3 4 4 4 1 1 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 6 3 3 4 4 4 1 1 1

Ex.
Ex. 57
Ex. 57 57
= 125
Ex. 57 = 125
Ex. 57 I D U I D U I D U
I
I
D
D
U
U I D U
I D U I D U I D U I D U
I = 125
D U I D U
33D I D U I D U I D U 33D 33D
= 125
3 33D I U
I D
33D
U
33D 33D I
I D
U
U I U
120 I 3D U I
I D
U
U I D U I U 121 I U I
I D
U
U 33 I D U
120 I D
33
U
33 33 I D U 121 I
33
D U
33 33
120 33 121
120 121

7
7 9 10 6 7 9 7 10
7 0 0 9 0 0 10 0 0 6 0 0 7 0 0 9 0 0 0 0 10 0 0
0 0 0 0 0 0 0 0 0 0 0 0 7 0 0 0 0
7 9 10 6 7 9 7 10
7 0 0 9 0 0 10 0 0 6 0 0 7 0 0 9 0 0 0 0 10 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Ex. 58
Ex. 58
= 120
M D U I M D U I M D U I M D U I M D U I M D U I
M D U I M D U I
122 123

7/17
7/17
5 6 5 3 5 6 7/17
7/17
6 5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Ex. 59
= 135
24 D U I M D U I D U I M D U I Progressive
D U
Thump
I
124 M D U 125 D U
 Ex. 58
Ex.
Ex. 58
58
= 120
Ex.
= 58
120
M= 120
D U I M D U I M D U I M D U I M D U I M D U I
= 120

Chapter 3
M D U I M D U I
122
M
M D D U U II M
M D
D U
U II M
M D
D U
U II M
M D
D U
U II 123
M
M D
D U
U II M
M D
D U
U II
U U
M D U I M D U I M D U I M D U I M D U I M
M D
D U II M
M D
D U II
122 M D U I 123
122 123 M D U I M D U I
122 123

5 6 5 3 5 6
5 6 5 3 5 6 6 5
5 3 3 3 6 3 3 3 5 3 3 3 3 3 3 3 5 3 3 3 6 3 3 3 3 3 3 3 3 3
5 6 5 3 5 6 6
6 5
5
3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 6 3
3 3
3 3
3 5 3
3 3
3 3
3
Ex. 59 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Ex. 59
Ex.
Ex. 59
59
= 135
Ex. 59
D= 135
= 135
U I M D U I D U I M D U I
D
D
= 135
U
U II M
M D
D U
U II M D U D
D U
U II M
M D
D U
U II D U I D U
124 D 125
D U II
124 D U I M D U I M
M D
D U
U 125 D U I M D U I D U D
D U
U
124 125 D U I
124 M D U 125 D U

3 2 3
3 2 3 3
1 1 1 3 1 1 1 2 1 1 1 1 1 3 1 1 1 1 1 4 4
3 2 3 3
3
1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 1
1 3 1
1 1
1 1
1 4
4 4
4
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 4
Ex. 60
Ex. 60
Ex.=60
Ex. 60220
Ex.=60220
D = 220
U D U I
D U I D U D U D U I
D U I D U
126 = 220
D U
D U
I
D U II
D
D 127 U II D U
I D
D U I
U 128 I D U II
D
D U II 129 D U I D U I
D U
D II D U U D U II D U U D U II D U II D U
126 D U D 127
127 U D 128 I
U 128 D 129 D U D U
126 D U I I D U D U I U I 129
U U D U
126 I 127 I 128 I 129 D I D I

5 4 4 3
6 5 4 3 6 5 4 3 6 5 4 3 6 5 5 4 6 4 3 5 2 3
7 5 7 5 7 5 7 5 4 4 3
6
6 5
5 4
4 3
3 6
6 5
5 4
4 3
3 6
6 5
5 4
4 3
3 6
6 5
5 5 4 6
6 4 3 5
5 2
2 3
3
6 5 7
7 4 3 5
5 6 5 7
7 4 3 5
5 6 5 7
7 4 3 5
5 6 5 7
7 6 5 2 3
7 5 7 5 7 5 7

Ex. 61
Ex. 61
Ex. 61
Ex.=61165
Ex.=61165
I = 165 D U D U I D U D U I
D U D U D U I D U D U D U
130
I
= 165DD U
U
D
D U
U II
D U D U D U
131
II D
D U
U
D
D U
U II
D U D U D U
130
130 I U D U I D U D U D U 131
131 D U D U I D U D U D U
I D D U D U D U I D U D U D U
130 131

4 4 4 4
4
4 4
4 4
4 4
4
1 1 1 1 1 1 1 1 5 4 1 1 1 1 1 1 1 1 4 5
4 1 1 1 1 4 1 1 1 1 5 4 4 1 1 1 1 4 1 1 1 1 4 5
1 1 1 1 1 1 1 1 5 4 1 1 1 1 1 1 1 1 4 5
1 1 1 1 1 1 1 1 5 4 1 1 1 1 1 1 1 1 4 5
Ex. 62
Ex. 62
Ex.
Ex.=62
62145
Ex.=62145 D U D U D U D U D U D U D U D U
132 D = 145
U D U D U D U 133 D U D U D U D U D U D U
132 D = 145
D U U DD U
U D
D U
U D
D U
U
D
D U
U D
D U
U D
D U
U D
D U
U 133 D
D U
U D
D U
U D
D U
U D
D U
U
D
D
U
U
D
D
U
U
D
D U
U D
D U
U
132 D D D U D U D U D U 133 D U D U
132 D U D U D U D U 133 D U D U D U D U

6 6
5 5 8 8 8 8 8 8 8 8 5 5 8 8 6 6 8 8 5 5
7 7 7 7 7 7 7 7 7 7 7 7 6 6
5
5 5
5 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 5
5 5
5 8
8 8
8 6 6 8
8 8
8 5
5 5
5
7
7 7
7 7
7 7
7 5 5 7
7 7
7 8 8 8 8 8 8 8 8 7
7 7
7 7
7 7
7 5 5 7
7 7
7 8 8 8 8 5 5
7 7 7 7 7 7 7 7 7 7 7 7
Ex. 63
Ex. 63
Ex.
Ex.=63
63130
Ex.=63130
134 D = 130
U D U D U D U D U D U 135 D U D U D U D U D U D U D U
134 D = 130
D U
U D
D U
U D
D U
U D
D
U
U D
D U
U D
D U
U 135 D
D U
U D
D U
U D
D U
U D
D U
U D
D U
U D
D U
U D
D U
U
134 D D 135
D U D U D U D U D U D U D U D U D U D U D U D U D U
134 135

5 5 5 5
4 4 4 4 7 7 7 3 3 3 3 3 4 4 4 4 7 7 7 7 5 5 5 5 5 5
5 5 5 5
4
4 4
4 4
4 4
4 7
7 7
7 7
7 3
3 3
3 3
3 3
3 3
3 4
4 4
4 4
4 4
4 7
7 7
7 7
7 7
7 5 5 5 5 5
5 5
5
4 4 4 4 7 7 7 3 3 3 3 3 4 4 4 4 7 7 7 7 5 5

25
8/17
Progressive Thump 8/17
8/17
8/17
Chapter 3
Ex. 64
Ex.
Ex. 64
Ex.=64
64175
Ex.=64175
D= U 175 U II D
D U
U D
D U
U D U D
U D U D PP U PP D U D U II D U D U D U D PP U PP U D
D U U
D U D U D U D U D U
D= U 175
136
136 D D U D U 137
137 D U D U D U I 138
138 D U D U D U 139 D
139 U
D U DP UP D U D U I D D U D U DP UP D U D U D U D U
136 137
U I
138 139 D U D U
136 D U D U DP UP 137 D U D U I D 138 D U D U DP UP 139 D U D U D U D U

P
P P
P P
P P
P
P P P P
P P 2
2 P P 5
5 5
5 5
5 5
5
2 4
4 3
3 5 5 5 5 6
6 6
6 6
6 6
6
2
2 2
2 2
2 2
2 3
3 2
2 3
3 2
2 2
2 2
2 2
2 2
2 2 4 3 0
0 2
2 2
2 2
2 2
2 3
3 2
2 3
3 2
2 5 5 5 5 6 6 6 6 5
5 5
5 5
5 5
5
2 2 2 2 3 2 3 2 2 2 2 2 4 3 0 2 2 2 2 3 2 3 2 6 6 6 6 5 5 5 5
2 2 2 2 3 2 3 2 2 2 2 2 0 2 2 2 2 3 2 3 2 5 5 5 5
Ex. 65Ex. 65
Ex.
Ex.=65
65165
Ex.=
=65165
165
D
D = 165U
U II D
D U
U II D
D U
U II
D
D U
U D
D U
U D
D U
U
D 3U 33U
I D U II D U D U D U
D U
333U
I D U II
D
D U II D U
333U
I
140
140
140
D I D
D
U
U I D 333U D U 333D U
141
141
141
D I D
D
U
U I D U
U I D I
3 D U I 3 D U I D U I 3
140 3 3 141

33 33 333
3 3
3 4
4 3 4
4 6
6 344
3
3 5
5 6
6 4 3
3 5
5 6
6 4 6 4 5
5 4
4 2
2
4
4 5
5 3 5 6 4 1
1 1
1 1
1 1
1 1
1 1
1 4
4 5
5 3 5 6 4 6 4 5 4 2 3
3
4 5 3 5 6 1 1 1 1 1 1 4 5 3 5 6 5 4 2 3
4 5 1 1 1 1 1 1 4 5 3
Ex. 66Ex.
Ex. 66
66
Ex.= 66
250
Ex.=
= 250
66
250 M
M
M
M M
M
II D U II D U M II D U II D U D U D U
M M D
142
142
142 I = 250
D
D
U
U M
143
143
143 I
D
D
U
U M
144
144
144 I
D
D
U
U M
145
145
145 I
D
D
U
U D U
U
D
D
U
U
142 I D U 143 I D U 144 I D U 145 I D U D U D U

5
5 6
6 5
5
5
5 5 5
5 6 5
5 5 5
5 4
4 4
4 4
4 4
4
5 6
6 7
7 5 5 6
6 7
7 6 5 6
6 7
7 5 5 6
6 7
7 4 4 4 4
5 6 7 5 6 7 5 6 7 5 6 7 4 4 4 4
6 7 6 7 6 7 6 7

Ex. 67Ex.
Ex. 67
67
Ex.
= 67
170
=
Ex. 170
67
D =U
U170U
D U II D U D U II D U D U D U II D U D U II D U D U II D U D U D U
D =U170
146
146 D D D U D U 147
147 D U D U D U 148
148 D U D U D U D U 149
149 D U D U D U
146
D U I D U D U I 147
D U D U D U I 148
D U D U I D U D U I 149
D U D U D U
146 D U D U I D U D U I 147 D U D U D U I 148 D U D U I D U D U I 149 D U D U D U

3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 (3)
(3) 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 (3)
(3) 3
3 3
3 3
3 3
3 3
3 3
3
3 3 3 3 3 3 3 3 3 3 (3) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 (3) 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 (3) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 (3) 3 3 3 3 3 3

Ex. 68Ex.
Ex. 68
Ex.=68
68250
Ex.=
=68250
250
150 D U
D = 250
U M
M II D
D U
U D
D U
U D
D U
U 151 D
D U
U M
M II D
D U
U 152 D
D U
U M
M II D
D U
U D
D U
U D
D U
U
150 D U M I D U D U D U 151 D U M I D U 152 D U M I D U D U D U
150 151 152
150 D U M I D U D U D U 151 D U M I D U 152 D U M I D U D U D U

2
2
1
1 1
1 2 3
3
1 3
3 2
2 2
2 2
2 2
2 1 3
3 2
2 3
3 2 3 5
5 2
2 4
4 4
4 4
4 4
4
2
2 3
3 1 3 4
4 5
5 2 2 2 2 2
2 3
3 1 3 4
4 5
5 2 3 3 5 2 4 4 4 4
2 3 3 4 5 2 2 2 2 2 3 3 4 5 2 3 5 2 4 4 4 4
2 3 4 5 2 3 4 5
4.
4. Hybrid Thumb Technique Basic Groupings
4. Hybrid
Hybrid Thumb
Thumb Technique
Technique Basic
Basic Groupings
Groupings
4.=
= 120
Hybrid
120 Thumb Technique Basic Groupings
153
= 120
153 = 120

26
153
153
Progressive Thump
Chapter 4
Hybrid Thumb Technique

O
ne of the only issues that this technique presents is that, in most cases, you have to follow a
down stroke of your thumb with an up stroke. This creates problems when you are forced to
play a riff or line that skips a string on every note. Riffs and melodies like these are found all
over modern metal so this is where the thumb pluck comes in...

Hybrid Thumb Technique Groupings

Much like approaching the double thumping groupings, you want to isolate each of these
individually and practice them slowly to a metronome with methodical and purposeful movements.
This thumb movement is inherently less aggressive than double thumping and requires more soft
and subtle movements to use correctly. However, if done properly, you can still get a sharp enough
attack that can easily blend with double thumping.

This grouping of two is going to be the main one that you will be
Ex. 69Ex.–69Thumb, Index
Ex. 70 using in most Ex.situations.
71 As previouslyEx.mentioned,
72 this grouping
Ex. 73
T I M T M I
154 T I 155 3 is typically 156
used in a 3line where there
157 T
is only
I one
M note
R per string.R
158 T M I
Entire riffs could be based solely off of this movement but in most
cases it will only be a portion of a phrase.

One of the few challenges with this grouping is getting used

X X X X X X X X X X X X X X X X
to the different way the thumb moves. Instead of striking through
the string like we do in double thumping, we’re using the pad
4.2 Hybrid Thumb TechniqueofString
our thumb toMovements
Skipping pluck the string.
Ex. 75Since we’re using a wider and
meatier part of our thumb, it can Tbe difficult
I M to get a sharp, percussive
T I M attack out of it. TTheMwayI to T M I
T I M T I M 3 T M I T M I 3
achieve
159 this3is to position
3 your thumb 3 slightly under the string
160 and3 then pluck 3up and away 3 much like
you would with a typical string pop. This will allow you to get a snap out of the string even without
plucking very hard or pulling the string too much.
X X
Even though our goalXis to getX a snappier
X Xsound out of the string, we don’t want to useXtoo
X X
X

much force
X or
X toX lock our
X
X thumb. The same concept of immediately relaxing
X X X X
X
X your
X thumb
X after youX
attack the string applies here so make sure to not over do it.
Ex. 76 Ex. 77
T I M T M I T M I T I M
T I M T M I T M I T I M
3 3 3 3 3 3 3
161 3 162

X X X X
X X X X
X X X X
X X X X
X X X X X X X X

Progressive
Ex. 78 Thump Ex. 79
27
T I M T I M T I M T M I T M I T M I
163 3 3 T I M 3 164 3 3 T M I 3
 Chapter 4
Ex. 70 – Thumb, Index, Middle Ex. 71 – Thumb, Middle, Index
Ex. 70 Ex. 69 Ex. 71 Ex. 70 Ex. 72 Ex. 71 Ex. 73 Ex. 72 Ex.
T I M T MT I I M T M I
I 155 3 154 T 156 I 1553 3 157 T I156 M R3 158 T R 157 MT II M R 158 T

X X X X X XX X X X X XX X XX XX X X XX XX X X X

ybrid Thumb Technique String4.2

Skipping
HybridMovements
Thumb Technique
Ex. 75String Skipping Movements Ex. 75
These groupingsT
of
I
to be the three are
T going
I M for lines ones you willT typically
I M use for arpeggiations
T M I or
I M T I M I MTTM I 3
M T I T M TM I I MT M 3 I T M TI M I3 T M I
3 that skip
3 multiple strings
3
159
in
3 succession.3160 Incorporating
3 3 your middle
3 finger3
160
here won’t
3 be nearly
3 as 3
complicated as it originally was since it’s identical to the movement used in double thumping. It’s also
made much easier because of the natural position our picking hand is resting on the strings. If we’re
using proper technique, each of our X
fingers will already be restingXon separate strings (thumb
X
on the
E, index on
X
the A,X middle
X on the
X D, etc..) Xmaking Xthis Xmovement
X
X
effortless.
X
X X
X X
X
X X X X X X X X
X X X X XX X X XX X X X X XX X X
I included both of the groupings here because we want to get comfortable leading with both
6
our middle and our index Ex. 76
finger. AscendingEx.lines
77
will typically feel more comfortable
Ex. 77
with the grouping
inTEx.I 70 but
M riffs
T that
M Ialternate directions
T I may
M be more
T T M MI I T comfortable
M I
I T
withI the Ex. 71.
TM MT
Like
T I mentioned
M I T I M
I M T IT MM I T M II M
3
earlier in the book, we want 3 3 3
3 to3 be able162to play all
3 of these groupings and do all3 of these movements
3 3 3 3 3 3
3 161 162
forwards and backwards. Being free to use these techniques in all of these different ways opens up
the door to more possibilities for their usages.
X X X X X X X X
X XX X X XX
X X X X X X X X
X
X
Ex. 72 – Thumb,
X X
Index,
X
X
Middle,
X
X Ring
X X
X Ex.X 73 – Thumb,
X
X
X X
Ring,
X
X
Middle,
X
X Index X
0 Ex. 72 Ex. 71 Ex. 73 Ex. 72 Ex. 73
II M T M I
T I M 3R T R157 TM II M R T R M I
8 3 157 156
Ex. 158
78 Ex. 79 158
Ex. 79
I M T I M T IT MI TM I MT M I T TM I I M T MT IM TI M I
3 3 T I163 M 3 3 3164 T3 I M 3 3 T 164M I 3 3 3 T M I

XX X X X X X X
X XX X XX XX X X X X X X
3 3 3 3
X X X X X X X X
X X X X X X X XX X X X X X
X Ex.
X 75
hnique String SkippingXMovements X Ex.X75 XX X X X X X
X X X X X X X
TheseMlast
M T T M I I M T
T I
3 I
twoT groupings
M X
M T I M start
T M
to go Minto Ia
I 3 T
I X
that
3
is almost
X a completely different
T M territory
I
T M I

3separate technique.
3 3 This
160 is where
3 3 the classical
3 guitar influence really comes in. Ex. 72 is the exact
3
0 same grouping as what classical guitaristsEx.
Ex. 80 use81and we’re going to use it inEx. a very
81 similar way.
T I M IT MI TM I MT T TM I I M MT I M TI M I
I M
Matthew
3 Garrison
T andMDominique
I165
T
3 di 3Piazza are T
M
champions
I
I
M 3 of3 this 4T finger
M
T
technique
I 3 and have
3 been
T M I
3 3 166 3 166 3
able to do some masterful
X things with it. I
X would absolutely recommend X checking out what they’ve
X done
X with
X
thisX
technique
X X since
X
the way
X
I use it Xand apply
X it is
X
highly X
influenced by them.
X X X X
X X X X X X X X X X X X
3 3 3 3
X X X X
X X X X X X X X X X X
Ex.
X 77 X X Ex.XX77 X X X X X X XX X X
XM X T M I T IXX T M M TX I I T M M XI XI X M XX X
T T M M I I T M I X X
T T I M X
3 3 3 3 3 3 3
28 162
3 3 3
Progressive Thump
2 Ex. 82 Ex. 83 Ex. 83
M R M R M I M I
I T 167 I T MI R 168 T T R I M R T 168 RT MR I T R
Chapter 4
All of the same previous concepts apply here: make sure you are keeping your hand relaxed,
make sure you are only activating the fingers that you are using in any given moment, and make sure
not to inadvertently ball your hand up into a fist. This is especially important now that we’re using
our ring finger as it can be really easy to inadvertently clench the pinky side of our hand when we
get into fast and complex passages. I typically don’t need to use my ring finger very often in string
skipping passages, since my index and middle can typically do the job, but it’s still important to be
comfortable with using it. There have, however, been a handful of riffs that I’ve had to play where I
needed to use it so it is something you need to spend some time with.

Progressive Thump 29
Chapter 4
Hybrid Thumb Technique String Skipping Movements
The hybrid thumb also has it’s own set of basic string skipping movements that you will
be using repeatedly. Many of these movements are very similar to the ones found in the double
thumping section, but with more string skipping, since you’re not doubling attacks up on the same
string with your thumb. Because of this, we need to make sure our accuracy and string muting is
on point. We don’t want any sympathetic vibrations or ringing open strings muddying up our lines,
so make sure you’re clearly
Ex. 69
Ex.
Ex. 69
69
Ex. 70 plucking eachEx.
Ex.
T 70
Ex. 70 I M
intended
Ex.
T 71
Ex.
71
71 M
string
I
without
Ex. accidentally
Ex.
72
Ex. 72
72
grazing
Ex. 73another.
Ex.
Ex. 73
73
Practicing
154 T
T these
I
I groupings
T
155 T 3as
II
ghost
M notes
M
156 Tin the3M
T M
beginning
II
can
157 Tbe especially
T
I
I
M
M
R helpful
R 158 T to R
T alleviate
R
M
M
I
II
154 T
154 I 155 33 156 33 157 T
157 I M R 158 T
158 R M
that problem. 155 156

X X X X X X X X X X X X X X X X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

Ex. 74 Ex. 75
4.2 Hybrid Thumb Technique String Skipping Movements Ex. 75
4.2
4.2 Hybrid
Hybrid Thumb
Thumb Technique
Technique String
String Skipping
Skipping
T
Movements
Movements
I M
Ex.
Ex. 75
75 T M I
T
T I M T I M T
T
I M T 3II M
M T M I T M I T M I T
T 3M
M II
T
159 T 3II M
M T
T 3II M
M T 3II M
M 33 T
T 3M
M II T
T 3M
M II T
T 3M
M II
33
159 33 33 33 160
160 33 33 33
159 160

X X
X X X
X X X X
X
X X X
X X
X X X X
X X
X
X X X
X X
X X X X
X X
X
X X X
X X X
X X X X X X
X X X
X X X
X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X

Ex. 76
Ex. 76 Ex.
Ex. 77
77
Ex.
Ex. 76
76 T I M T M I
Ex.
Ex. 77
77M T M I T I M
T T M I T I T I M
T
T
I M T 3II M
M T
T 3M
M II T
3M II T
3M II
T
T 3M
M II T
T 3II M
M T
3II M
T 3II M
M 33 33 T M
33
T M
33 33 33 T
33
M
161
161 33 162
162
161 162

X X X X
X X
X X
X X X X
X X
X X
X
X X X X
X X
X X X X
X
X X
X X
X X X X
X X
X X
X X
X X X X X
X X X
X X X X X
X
X
X X
X X
X X
X X
X X
X X
X X
X

Ex. 78
Ex. 78
Ex. 78
Ex.
Ex. 79
79
Ex. 79
Ex.
T 78I M T I M T I M Ex.
T 79M I T M I T M I
T
T
163 T 3II M
M T 3II M
M T I M
T
T 3II M
M T
T 3M
M II T
T 3M
M II
T M I
T
T 3M
M II
163 33 33 T
T II M
M 33 164
164 33 33 T
T M
M II 33
163 164

3 3
3
3 3
3
X X X X
X X X
X X
X X X X X X
X X
X X X
X X X
X X
X X X
X X
X X X X
X X
X X X
X X
X
X
X X
X X X
X X X
X X
X X X
X X
X X
X X
X X X
X X
X
X
X X
X

Ex. 80 Ex. 81
Ex.
Ex. 80 Ex. 81
T 80 I M T
T
I M T I M Ex.
T 81 M I T M I T M I
T
T 3II M
M T 3II M
M T I M
T
T 3II M
M T
T 3M
M II T
T 3M
M II
T M I
T
T 3M
M II
165
165 33 33 T
T II M
M 33 166
166 33 33 T
T M
M II 33
165 166

3 3
33 33
X X
X X X X X X X X

30
X X
X X X
X X X
X X X
X X X X
X X X
X X X
X
X
X
X
X
X
X
X X
X
X
X
X X
X X
X
X
X
X
X
X
X
X
X
X
X X
X
X
X
X
Progressive Thump
X
X X
X
X
X
X
X X

Ex. 82 Ex. 83
 Ex. 78 Ex. 79
Ex.
T 78 I M T I M T I M Ex.
T 79 M I T M I T M I
163 T 3I M T 3I M T I M T 3I M
164 T 3M I T 3M I T M I T 3M I
3 3 T I M 3 3 3 T M I 3

Chapter 4
163 164

3 3
3
X X 3
X X
X X X X X X X X X X X X
X X X X X X X X X X X X X X
X X X X X X X X X X
X X X X X X
X X
Ex. 80 Ex. 81
Ex. 80 Ex. 81
Ex.
T 80 I M T I M T I M Ex.
T 81 M I T M I T M I
165 T 3I M T 3I M T I M T 3I M
166 T 3M I T 3M I T M I T 3M I
165 3 3 T I M 3 166 3 3 T M I 3

3 3
3 X 3 X
X X X X X X X X
X X X X X X X X X X X X X X
X X X X X X X X X X X X X X
X X X X X X X X
X X

Ex. 82
Ex. 82 Ex.
Ex.83
83
Ex. 82 M R Ex. 83 M I
167 T I M R T I M R 168 T R M I T R M I
167 T I T I M R 168 T R T R M I

X X
X X X X X X
X X X X X X X X
X X X X X X X X
X X X X X X
X X

Ex. 84 Ex. 85
Ex. 84 Ex. 85
T I M R T I M R T R M I T R M I
T I M R T I M R T R M I T R M I
169 170 10/17
10/17

X X X X
X X X X X X X X X X
X X X X X X X X X X
X X X X X X
X X

4.3 Hybrid Thumb Exercises

T I M T I M T I M
T I M 3
3 3 3 3 Sim...
171 172

3 3
3

4 5 7 9 11 12 14 16
2 2 4 4 5 5 7 7 9 9 10 10 12 12 14 14

Ex. 87
T I M T I M T I M
3 3 3 Sim...
173 T I M 174

3 3 3 3
3
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
2 4 5 7 9 10 12 14

Ex. 88
T I M
T I M T I M I Sim...
3 M 3
175 3
Progressive Thump
3 T 176 3 3
31
Chapter 4
Hybrid Thumb Exercises
Now that you’ve gotten comfortable with the basic shapes that this technique uses, let’s start
applying them to some scale practices. Many of these exercises focus on the chord tones of each
chord (i.e. the root, 3rd, 5th and the 7th) or the chords that are created by each mode of the major
scale. These chord tones are the most important notes of any given scale because they are the
major determining factor of what the scale’s quality will be. Many vocal melodies, arpeggios you hear
in guitar solos, and even just guitar chords themselves, are most of the time solely based off of these
chord tones.

Practicing entire scales in various patterns is a great thing to work on but we should also focus
on being able to see and comprehend the chord tones by themselves. This can be a challenge
especially if they’re played all across the neck horizontally instead of just in one position. Having a
clear grasp of these chord tones will, in my opinion, give you a deeper understanding of harmony
than just practicing scales.
Ex. 84 Ex. 85
Just like all of
T the
I Mother
R exercises Tin the
I Mprevious
R chapters, you
T Rshould
M I try to play these
T R Min all
I
Ex.
T 84
I M R T I M R Ex.
T 85
R M I T R M I
12 keys and in different
169
T I positions
M R all overT the
I fretboard
M R
170
once you have
T R the
M right
I hand movements
T R M I
T I M R T I M R T R M I T R M I
down. Moving these patterns around the fretboard can be harder than you think and may take some
169 170

practice so don’t rush through them.

X X X X
X X X X X X X X X X
X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X
X X X X X X X X X X X X
X X X X X X
Ex. 86
X X
4.3 Hybrid Thumb Exercises
T I M T I M T I M
4.3T Hybrid
I Thumb
M Exercises 3
3 3 3 3 Sim...
171 T I M T I M T I M 172
T I M 3
3 3 3 3 Sim...
171 172

3 3
3
3 3
3
4 5 7 9 11 12 14 16
2 2 4 4 5 5 7 7 9 9 10 10 12 12 14 14
4 5 7 9 11 12 14 16
2 2 4 4 5 5 7 7 9 9 10 10 12 12 14 14

Ex. Ex.
87 87 T I M
T 87I M T I M
Ex. 3
3 3 T I M T I M Sim...
173 T I M T I M 174
3 3 3 Sim...
173 T I M 174

3 3 3 3
3
37 39 3 3
0 0 2 2 4 4 35 5 7 9 11 11 12 12
2 4 5 7 9 10 12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
2 4 5 7 9 10 12 14

Ex. 88
T I M
Ex.
T 88I M T I M
3
I
M
Sim...
3
175 3 3 T I M T I 176 Sim...
3 3
T I M T I M
3 M 3
175 3 3 T 176 3 3

3 3
32 6 6
6 6
8
3 8
38 8
6
Progressive
6
6 6 Thump
8 8 8 8
7 7 6 6 6 6 7 7
5 5 6 6 5 5 5 5 5 6 6 5
7 7 7 7
5 5 5 5 5 5 5 5
 Ex. 87
T I M
Ex.
T 87I M T I M
3I 3I T 3I M Sim...

Chapter 4
173 T M T M T I M 174
3 3 3 Sim...
173 T I M 174

3 3 3
3 3
37 3 3 3
0 0 2 2 4 4 35 5 7 9 9 11 11 12 12
2 4 5 7 9 10 12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
2 4 5 7 9 10 12 14

Ex. 88
Ex. 88
T I M
Ex.
T 88 I M T I M I Sim...
T 3I M
M 3
T 3I M T 3I M T I Sim... 3 3
175
3 M 176
3
175 3 3 T 176 3 3

3 3
38 8 38 8
6 6 6 6
6 6 8 8 8 8 6 6
7 7 6 6 6 6 7 7
5 5 6 6 5 5 5 5 5 6 6 5
7 7 7 7
Ex. 89
5 5 5 5 5 5 5 5

Ex. 89
M R
177
Ex.
T 89 I T I M R 178
Sim...
M R Sim...
T I T I M R
177 178

8 8
6 6 9 9
7 7 6 6 8 8
4 4 6 6 7 7 9 9
5 5 7 7 6 6
4 4 7 7
5 5

Ex. 90
Ex. 90
M R
179
Ex.
T 90 I T I M R
180
Sim...
M R R
179 T I T I M 180 Sim...

8
6 6 6
6 6 8 6
7 6 6 6
5 5 6 5 5 6 5 5 5 5 6
7
5 5 5 5 5 5 5 5

Ex. 91
Ex. 91
T I M
3 M M
T I M
T I T I Sim... 11/17
181 182
11/17

3 3 3 3
3 3 3
2 4 6 7 9 11 13 14
2 4 6 7 9 11 12 14
0 2 4 5 7 9 11 12

Ex. 92
Ex. 92
T I M R T I M R T I M R
T I M R Sim...
183 184

2 4 6 7 9 11 13 14
2 4 6 7 9 11 12 14
0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12

Ex. 93

33
T I M T I M

185 Progressive
3 3Thump T I M T I M 186
Sim...

3 3 3
 Ex. 92
Ex.
T 92
I M R T I M R T I M R
Ex. 92
183 T I M R T I M R T I M R T I M R Sim...

Chapter 4
184
T I M R T I M R T I M R Sim...
183 T I M R 184
R
183 T I M 184 Sim...

2 4 6 7 9 11 13 14
2 2 4 4 6 6 7 7 9 9 11 11 12 13 14 14
0 0 2 2 2 4 4 4 6 5 5 7 7 7 9 9 9 11 11 11 12 12 12 14
0 0 2 2 2 4 4 4 6 5 5 7 7 7 9 9 9 11 11 11 13 12 12 14
2 4 6 7 9 11 12 14
Ex. 93 0 0 2 2 4 4 5 5 7 7 9 9 11 11 12 12
Ex. 93
Ex.
T 93I M T I M

185
Ex.
T 93 3I M T 3I M
T I M T I M 186
Sim...
T 3I M T 3I M T I M T I M Sim...
185 186
3 3 T I M T I M Sim...
185 186

3 3 3 3
3 3 3 3 3
3 3 3
34 30 4 32 5 34 7
30 4 32 5 7 2 0 4 4 2 5 5 4 7
2 5 3 7 2 0 4 3 2 5 5 4 7 2 4 5
3 2 5 5 3 7 2 3 5 0 4 2 5 4 7
3 5 0 4 2 5 4 7 2 4 5
2 5 3 7 2 3 5
3 5
Ex. Ex.
94 94
Ex.
T 94I M
Ex.
T 943I M
T I M T I M T I
M Sim...
187 T 3I M M M 188
Sim...
T I M T I T I
187 3 M M
188
Sim...
187 T I M T I T I 188

3 3 3 3
3 3 3 3 3 3
3 3 3
3 3 3 3 3
4
33 5 3 7 3 9 10 12 14 16
2 4 5 5 7 7 9 9 10 10 12 12 14 14 16
3 2 5 3 7 5 8 7 10 9 12 10 14 12 15 14
3 4 5 5 7 7 8 9 10 10 12 12 14 14 15 16
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15
Ex. 95
Ex. Ex.
95
T 95I M R T I M R T I M R
R
189 T Ex. 95
I M R T I M R T I M R T I M
R 190 Sim...
189 T T I M R T I M R T I M 190 Sim...
I M R R
189 T I M 190 Sim...

1 2 4 6 7 9 11 13
2 1 4 2 6 4 7 6 9 7 11 9 12 11 14 13
0 4 2 2 5 4 4 7 6 5 9 7 7 11 9 9 12 11 11 14 12 12 16 14
0 4 1 2 5 2 4 7 4 5 9 6 7 11 7 9 12 9 11 14 11 12 16 13
2 4 6 7 9 11 12 14
0 4 2 5 4 7 5 9 7 11 9 12 11 14 12 16
191
191
191

12/17
12/17
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34 Progressive Thump
Chapter 5
Hybrid Thumb Riff Applications

B
efore moving on to combining both techniques, let’s focus on a few exercises that
deal only with using the thumb in the plucking position. As you can see, most of these
exercises involve riffs where each note is on a different string. This is where this
particular technique shines. Crossing strings, especially ascending, is easily one of the most
difficult things about playing electric bass and this technique almost effectively eliminates that
issue. Since our hand is already positioned in a way where each finger is on its own string, we
don’t have to shift our position at all. This makes examples like these much easier to tackle.
Jumps that are even wider than what’s found here would be just as easy!

Ex. 965. Hybrid Thumb Riff Applications

5. =Hybrid
150 Thumb Riff Applications M
M I
M M M M
192 T = 150
I T I M
193 T I T I 194 T I T I M
195 T T M I
M I
M M M M M
192 T I T I 193 T I T I 194 T I T I 195 T T M I

12
9 7 9 12 9 7 10 5
7 10 7 10 7 10 8 12 7
5 9 8 7 5 9 8 12 5 9 8 7 10 5 6
7 10 7 10 7 10 8 7
5 8 5 8 5 8 6

Ex. 97Ex. 97
Ex.=97190
M I H M I P M I H M T I
196 T = 190
I H T 197 T I H T 198 T I H T 199 T I M
M I H M I P M I H M T I
T I H T T I H T T I H T T I M
196 197 198 199

H H H P H H
7 5 7 5 0
5 H7 7 H8 5 H7 8 P 7 5 H7 7 H8 5 8 7
5 7 5 5 5 7 5 0
6 5 7 7 8 6 5 7 8 7 6 5 7 7 8 6 5 8 7
5 5 5
6 6 6 6

T I H T T I H T T I H T
M I H M I P M I H
T I H T T I H T T I H T I T I H M T I
200 201 202 203
M I H M I P M I H
I T I H M T I
200 201 202 203

H H H P H H H
5 3 5
3 H5 5 H6 3 H5 6 P5 3 H5 5 H6 H 7
3 5 3 3 3 5 7 7 9 10 9
4 3 5 5 6 4 3 5 6 5 4 3 5 5 6 8 7
3 3 3 7 7 9 10 9
4 4 4 8

Ex. 98
Ex.=98200 M T H M H
M
I = 200 T T I T I T I T H M H
204 M 205
M
204
I T T I T 205
I T I

H H
6 3

35
4 5 4 3 H 3 H 6
4 Progressive Thump
5 6 4 3 7 5
5 4 3 4 5 3 6
5 4 7 5
4 5
 6 5 7 7 8 6 5 7 8 7 6 5 7 7 8 6 5 8 7
5 5 5
6 6 6 6
T I H T T I H T T I H T
M I H M I P M I H

Chapter 5
T I H T T I H T T I H T I T I H M T I
200 M I H 201 M I P 202 M I H 203
I T I H M T I
200 T I H T 201 T I H T 202 T I H T 203
M I H M I P M I H
I T I H M T I
200 201 202 203
H H H P H H H
H 5 H H 3 P H 5 H H
3 5 5 5 6 3 5 3 6 5 3 5 5 5 6 7
3 5H 3 5 6H 3 5H 3 6 5P 3 5H 3 5 6H 7 7 9 7 10 9
4 4 4 8 H
3 5 3 3 3 5 7 7 9 10 9
4 3 5 5 6 4 3 5 6 5 4 3 5 5 6 8 7
3 3 3 7 7 9 10 9
Ex.Ex.
9898 4 4 4 8

Ex.=98200 T H M H
M
= 200
IEx. 98 T M T
M
I T I T I T H M H
204 M 205
I T T I T I T I
204 = 200 M 205 T H M H
M
204
I T T I T 205
I T I

H H
6 3 H H
4 6 3 5 4 3 3 6
4 5 4 5 7 4 5 3 3
4 H5 H6
5 6 4 3 7 5
4 5 4 3 4 5 3 6
5 4 7 5
4 5
Ex. 99
Ex. 99
Ex. 99
= 185
I =Ex.
185
M99 R T I M R T I M R T I M R T I
206 207
I
206 =M185 R T I M R T 207 I M R T I M R T I

206 I M R T I M R T 207 I M R T I M R T I

0
1 1 1 2 1 1 1 2 1 1 1 2 1 1 1 2 0
1 1 1 2 1 1 1 2 1 1 1 2 1 1 1 2
0
1 1 1 2 1 1 1 2 1 1 1 2 1 1 1 2
Ex. 100
Ex.=100
Ex. 100 100
=M100
IEx. 100
R T I M R T I T I M R T I M R T I T 209 I M R T I M R T I T
M
M
I
I
T
T
M
M I T I T
208
I M R T I M R T I T I M R T I M R T I T 209 I M R T I M R T I T I T I T
208 = 100 M I T M
208 I M R T I M R T I T I M R T I M R T I T 209 I M R T I M R T I T I T I T

2
2 3 4
5 5 3 4 4 3 2
4 4 4 4 4 4 4 4 5 4 4 4 4 4 4 4 4 4 4 5 4 4 4 4 4 4 4 4 5 4 4 3 2 2 2
2
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 4 4 4 4 4 4 4 4 4 3 4 2 2
5 5 4 3 2
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 4 4 4 4 4 4 4 4 4 2 2

13/17
13/17
13/17

36 Progressive Thump
Chapter 6
Combining Double Thumping and Thumb Techniques

A
s mentioned in previous chapters, the end goal of individually practicing all of the
various groupings and basic movements is to then be able to combine them all together
and interchange them at will. Once you’ve gotten a decent handle on both the double
thumping technique and the hybrid thumb technique, then you want to move onto these
exercises that work on using them simultaneously. The biggest challenge is getting used to
switching between the two different thumb movements since one is more of a pluck than a
picking motion. This is where your methodical and slow practice will really start to shine. How
many more times do I have to mention to practice slowly!!!

Ex. 1016. Combing Double Thumping and Hybrid Thumb Techniques

6.
6. Combing
Combing Double
Double Thumping
Thumping and
and Hybrid
Hybrid Thumb
Thumb Techniques
Techniques
=
= 190
190
T = 190 I M T I D U M U II
210
210
T
T
I
I
M
M D U II 211 T
211 T
I
I
M
M
D
D U II T
T M
M I
210 D U I 211 D U I T M

0
0 2
2
1
1 0 2
4
4 1
1 4
4 1
1 1
2
2 4 0
0 4
4 1 2
2 4 0
0 4
4 1
3
3 2 0 4 3
3 2 0 4
3 3
Ex. 102Ex. 102
Ex.
Ex. 102
102
=
= 210
= 210
M
M M
M
D 210 U D U D U II H T II M II D U D U II H T II M D U
U II D U
212
212 D U D U D U H T 213 D
213 U D U H T D D U
212 D U D U D U I H T I I 213 D U D U I H T I D U I D U

H
H H
H
H 6
6 H 6
6
5
5 6 5
5 5
5 6 5
5 4
4
4
4 5 5 4
4 5 5 4 6
6
3
3 6
6 4 3
3 6
6 4 6 6
6 3
3
5
5 5
5 5
5 5
5 5
5 5
5 3 6 5
5 5
5 5
5 5
5 3 6 6 3
5 5 5 5 5 5 5 5 5 5

Ex. 103Ex.
Ex. 103
103
Ex.
= 103
125
=
= 125
125
D
D U U II M
M II T
T M
M II T M II D
D U I M I T MP T M D U II D U D
D U
U D
D
I T M I D U D U D U U D U
214
214 P 215
215 U I D U D U D U D U D U
214 P 215 D U U D U

P
P
P
4
4 4
4 2
2 1
1 1
1
0
0 3
3 4
4 4 3
3 4 2 3
3 1 1 0
0 4
4 3
3 4
4 3
3
0 3 4 3 5
5 3 5
5 0 4 3 X
X 2
2 2
2 2
2 4 3 1
1 1
1 1
1 1
1
5 5 X 2 2 2 1 1 1 1

Ex. 104
Ex. 104
Ex. 104 M
M
=
= 140
140 M
MHH II PP
D= U140D II M H D
D U
U
216 D U D U
U II D
D U
U D
D U
U D
D U
U II T
T II 217 M D
D U
U D
D U
U D
D U
U I P D
D U
U D U
216 D U D U I D U D U I D U I T I 217 D U D U D U D U
216 217

Progressive Thump H
H
37
P
P
H
7
7 8
8 P
6
6 12
12 7 8 10
10 9
9
8
8 6 8
8 11
11 12 8
8 6
6 10 9 5
5 5
5 5
5 5
5
7 7 7 7 7 7 7 7 7 7 10 7 7 7 7
 = 125
D U I M I T M I T M I D U I D U D U D
214 P 215 D U U D U

Chapter 6 0 3 4
4
3
4
P

2
3
1 1
0 4 3 4 3
5 5 X 2 2 2 1 1 1 1

Ex. 104Ex. 104 M

= 140 M
H
I P
I D U
216 D U D U I D U D U D U I T I 217 D U D U D U D U

H
P
7 8
6 12 10 9
8 8 11 8 6 5 5 5 5
7 7 7 7 7 7 7 7 7 7 10 7 7 7 7

Ex. 105Ex. 105

= 130 I T I M sl.
I D U I T I I H
D U D U 3 D U D U D U D U
3
218 3 3 3 3 3 219 3 3 T

3
3
H sl.
7 9 10 12
2 3
1 3 5 3 8 10
0 0 0 0 0 0 0 0 3 1 0 0 0 0 3 6

220

14/17

38 Progressive Thump
Chapter 6
Personal Applications of Both Techniques
These next 10 riffs are examples of how I’ve personally applied these techniques to music
I’ve had to play throughout my career. Most of the music from these examples didn’t originally
include the usage of these techniques so I had to figure out creative ways to incorporate them.
One easy way to develop these techniques faster is to try to apply them to music that you have
to play on a day to day basis.

Ex. 106 and 107 – The very first song I ever used to practice double thumping on a more
serious level was “River People” from the Weather Report album Mr. Gone. Being a huge Jaco
fan, I had obviously known about this tune for a while, and had actually learned it for a jury back
in college, but I later realized how great of a practice tool it would be for this specific application.
The vast majority of this tune is solely just octaves moving through the chord progression in a
similar way to Ex. 106. Because it is repetitive and fairly simple melodically, it was an easier
option for shedding endurance. Ex. 107 posed a problem though because of the moments
where there are only single notes per string. This is what got me thinking about using my thumb
in different ways and is the basis of the hybrid thumb section of this book.

Ex. 106
6.2 Personal Applications of Both Techniques
D U I M
I M I M I M I M
= 105 D Applications
221 6.2 Personal U Dof Both
U Techniques 222 D U D U D U I M
D U I M
I M I M I M I M
221
= 105 D U D U 222 D U D U D U I M

9 9 7 7 9 9 7 7
7 7 5 5
7 7 5 5 7 7 5 5
5 5 3 3
9 9 7 7 9 9 7 7
7 7 5 5
7 7 5 5 7 7 5 5
5 5 3 3
Ex. 107
Ex. 107 M I
T
M
I M I
M I
T
M
I M I
M I
M I M I
T
223 Ex.
D 107
U T D U 224 T D U T
M I M M I M M I
T I M I T I M I M I M I
U U U T
223 D T D 224 T D T

10 10 8 10 10 8 10 10 8
8 10 10 10 8 10 10 10 8 10 10 10
8 8 8 8 8 8 8 8 8
10 10 8 10 10 8 10 10 8
8 10 10 10 8 10 10 10 8 10 10 10
8 8 8 8 8 8 8 8 8

Ex. 108
= 130 I M R T I M T

225 Ex.
D 108U D U I T I D U D U H I T I
226
= 130 I M R T I M T
D U D U I T I D U D U H I T I
225 226

H
2
4 4 5
3 3 3 3 8 6
2 H 7 7 7 7
4 4 4 4 2 4 4 4 4 6
4 4 5
3 3 3 3 8 6
2 7 7 7 7
4 4 4 4 4 4 4 4 6
Ex. 109
I T I
39
I T I MP
= 120
227 Progressive Thump UH D U I H
Ex. 109 D U I D
228
I D U D U
I T I MP I T I
= 120 D UH I
D U I H
U
227 D U I 228 D D U
 D U I M
I M I M I M I M
221
= 105 D U D U 222 D U D U D U I M

Chapter 6 7 7
9 9
5 5
7 7
7 7
9 9
5 5
7 7
7 7 5 5
5 5 3 3

6.2
Ex.Personal
107 Applications of Both Techniques
Ex. 108 – ThisM I riffI is MMtaken from the Malignancy
M I tune I “Type
MM Zero ICivilization” M from
I their
D
M I
U I M
T I M II M T I M I M M I
223 D
221
=
incredible105
U album
D U Eugenics.D T UAs you D can
U see,
222 pretty
D U much every
224 D T U part of D the
DU Uriff Ihas
TM
constant,T

ascending string skipping that covers all 5 strings. This would be a monumental challenge to
play with just finger style but being able to set each finger on consecutive strings helps you
conserve 10 energy
10
8 9by 9keeping
8
10 10 you
10 7from having to shift.
7
10 10
8 It’s
9
8
also a
9 10 10 perfect
7 10 7 example
10 10
8 of how
8
10 this10 10
8 8 8 8 8 8 8 8 8 5
technique is 7 more
7 closely5 related
5 to classical 7guitar
7 than to5 slap5 bass. 7 7 5
5 5 3 3
Ex. 108
Ex. 108
Ex. 107
=M130I I M R T I M T
M M I M M I
U DT U I M I I IU D M U IH M IT I M I
225
D
D
U T D U
T I 226T D
T D U T
I
T
223 224

10 10 8 10 10 8 H 10 10 8
8 10 10 10 2 8 10 10 10 8 10 10 10
8 8 8 4 8 8 4 8 8 8 5 8
3 3 3 3 8 6
2 7 7 7 7
4 4 4 4 4 4 4 4 6

Ex. 108
Ex. 109 Ex.– Most of the ItimeM I’mR using
=109
130 T
these techniques on fretted bass because I M T of their
aggressive sound I butT I quickly
I foundMI out T thatI they 226
sound great
D on
I
U Hfretless too! I was
T I
I given I the
D
= U120 D U D U T
225 P
D U I H
honor
227 of filling in for Jeroen Paul Thesseling from Obscura
D U I D UH
228
I
on a tour they embarked on in early
D U D U

2022 and in working on their music, I found that there were many moments where my technique
was incredibly helpful. Ex. 109 is an excerpt from their tune “Solaris” H
off their most recent record
A Valediction. The double stops 4 coupled
2 P
6 53
with
4 the
H fast arpeggiations made this 5 a Hprime target for
using this6
4
technique.4 2 4
3
4 7
36 7 6 37 7
0 3 3 7 72
8
6
57 4 6
7 7 6
4 4 4 4 4 4 4 4 4 6 0 3
Ex. 109 1

Ex. 109
229 I I T I MP 230
I T I
= 120 D UH I
D U I H
U
227 D U I 228 D D U

5
6 4 6 7 6
0 7 7 6 4 P 3
H4 4 H 6 4
6 5 4
6 6 7 6 7 7 5 4
4 4 4 4 7 0 3 3 2 6 7 6
4 0 3
1
Ex. 110
= 130 U I M U
M D D
D U I D U D U I I D U I D U D U I D U
229 I231 230
M
232

5
6 4 4 6 6 7 7 6
0 7 4 3 7 6 6 6 4X 4 3 X 4 X 6 4 4 3 6 6 4 X 4
0 1 4 4 5 0 1 4 4 4 5

Ex. 110
= 130 U I M U
M D D
D U I D U D U I I D U I D U D U I D U
M
231 232

15/17

40 4 6 7 Progressive Thump
4 3 6 6 X 4 X X 6 4 3 6 X 4
0 1 4 4 5 0 1 4 4 5
 3 3 3 3 8 6
2 7 7 7 7
4 4 4 4 4 4 4 4 6

Chapter 6
227
Ex. 109
= 120
I T I
D U I
MP
D UH
228
I
I T I
D U I H
D U D U

P
H H
Ex. 110 6– Another one of the original
6 riffs
5
7that6 led7 to my
7 development of this technique 5 was
4 one 6
4 4 4 4 7 0 3 3 2 6 7 6
of the verse riffs from4 the Exist song “Writhe.” This example isn’t quite1
as0 physically
3 demanding
as the examples from “Self Inflicted Disguise” but it’s still at a fast tempo and contains enough
string skipping that I felt that it needed double thumping. Many times my decision to use double
229 I
thumping versus finger style comes from wanting 230
my performance to sound tight and relaxed.
I can play many of the riffs that I double thump with the regular finger style technique but my
time feel is much more smooth and fluid when I don’t have 5to push as hard to keep up. This
becomes
0 7
especially
6 4 important in settings that are as 6fast and as 7complex as
7 6 4 3 4 4
6 this.
6 4
4

Ex. 110
Ex. 110
= 130 U I M U
M D D
D U I D U D U I I D U I D U D U I D U
M
231 232

4 6 7
4 3 6 6 X 4 X X 6 4 3 6 X 4
0 1 4 4 5 0 1 4 4 5

T M
U I M D U T M I I M IH P
D U I D U D U I M D M I
I M
233 234 T 235

15/17
H P
5 5 8 6 11 11 9 8 9 8
4 6 7
4 3 6 6 X 4 X X 6 3 7 9
0 1 4 4 5

Ex. 111
Ex. 111=–220
To this day,
D
the
U hardest music I’ve had to play live was the
D
U material from Defeated
I D
D U D D U
Sanity’s EP Dharmata. If the Exist tunes were the beginning of my development, these Defeated
I U D U I D U U
236 I 237 I I 238 I 239 I M

Sanity songs were the solidification of how I now use the technique. They pushed me into new
territory where I discovered even more complex ways to arrange picking patterns. Working
these songs out with 12 this
13 technique for this tour was pretty terrifying12 13 because I didn’t know if it
9 13 14 9 11 9 11 12 8 9
was going
8
10 to11work the way I had 11 envisioned
7 it. Luckily
8
10for11me things worked9 out. However,
6 you 7

can still see how difficult these songs were even with the help of double thumping.
D U U
U I D U I
D U D I D U D U
I D U
240 I 241 242 I I 243 D

12 13 18 19 15 16 11
9 16 13 17 18 14 15 10 12
10 11 15 12 9 11
8

U I
D D U D
D U I D
D U D U D U U I U
244 245 246

Progressive Thump 41
12 0
11 13 8
10 12 7 9 7 9 11 9
 U I M D U T M I I M IH P
D U I D U D U I M D M I
I M
233 234 T 235 H P
5 5 8 6 11 11 9 8 9 8

Chapter 6
4 6 7 H P
4 3 6 6 X 4 X X 6 3 7 9
5 5 8 6 T
T M11 I11 9
1 4 0 4 5
U II M T
T MM
M
I M II 8H
H P
9 8
U D U I M
M D U
DX 4
M
4 D U
D U 6 7 M II
II M P
H P
D U
D D4 U3 D U I6
U II D 6 X X 6 II M 3 M 7 T9 M
233 0 1 4
233 4 5 U I M D U
M 234 T
234 T 5 5 T M8 I6 235
235 11 I11 M9 I 8H 9P 8
D U I D U D U I M D 4 M I
I6 7
M
233 Ex. 111 4 3 6 6 X 4 X X 6 234 T3 7 235 9
0 1 4 4 5
= 220
Ex. 111
D U D
U
D D U D
U I D
U U D H P
Ex. 111
I D I U H U P
236 I = 220 237 I I 238 I 239 I M
Ex. 111
D U D
U
D 4 6 7 D
5
5
U
5
5 8 U 6
D 8 6 11
11 11
11 I9
9 8
8 H9 P 8
D 9 8
4U 6U 7 D U
236 I = 2204
4 3
3
I 6
6 6 X I4
6 237 X 4 X
X IX
X
D
6
6 238 I 3
3 5 5I 7
7 8 6 239 I 9
9 11 11 9 8 9 U8 M
0 1 4
0 1 4 4
4 55 D U 4 6 7 U I D
D 4 U3 DX D 3 U D
6 6 X 4 U X 6 U 7 9D U U
2360 I 1 4 4I 5 237 I I D 238 I I 239 I M
12 13 12 13
9 13 14 9 11 9 11 12 8 9
Ex. 111
10 11 11 7 10 11 9 6 7
8= 220 12 13 8 12 13
Ex. 111 9 U
U 13 14 9 11 9 U
U 11 12
II D8 9
10 11 D
D 11 D 7 10 11 D
D 9 6 D 7
D U D U
II8= 220
D U II 12 13 D U
U D U
U D U II 12 13 D
D U U
236 U 237 I
I I
I D 238 II 8 U 239 II U I D8 U M
M
236 9 D 237 13 D 14 U 9 11 238 9 D 239 11 12 9
I
D
10 U
11 I U 11 I D
I
U
I7 D U
D
U
I
D
10 U
11 I U I9 D U 6 U M7I
236 8 D U D 237
I 238 8 D 239
U D U
I D U
240 I 241 D U U 242 I I 243 D
U I D U I
D U D I D U D U
I D U
240 I 12 13 241 D U U 242 I I 243 D
12 13 U I 13 D U 12
12 13
13 I
D U 9
9 D 13 14
14 I9
9 11
11 D 9
9 U 11
11 12
12
D U 8
8 9
9
240 8I
10
10 11
11 I 12 13 11
11
241
7
7 10
10I 11
11 12 I 13 D 9
9 6
6 D U 7
7
8 9 13 14 9 11 8 242 9
243
11 12 8 9
10 11 12 13 11 18 197 15 16 8 10 11 9 6 711
8 9 16 13 8 17 18 14 15 10 12
10 11 15 12 9 11
8 12 13 18
D 19 15 16 11
9 16 D U
U 13 U
U 17 18 14 15 10 12
U
U II D
D U
U II
10 11 D 15 D 12
D
D U
U II
D
12 13 D
18 U
19
II
15 U
16
D D
D
U
U D9
D 11
U
U U 11
I8 I II D U
240 I
240 9 D
U 241
241 I
16 I 13 D 242 I
242 17
D
U
18 14 15 243
243 D
10 12 I
D U U I U D9 U
10 11 I D 15 I12 DD U D 11 U
240 I8 U 241 D U 242 I U I 243 U D D
244 D U D 245 D 246 I U
U I
D D U D
D U I D
D U D U D U U I U
244 I 18 245 246
12
12 13
13D U 18 19
19 15
15 16
16 U 11
11
D D
D 10 U11
9
D9 U 16
16 13
13D U
D U 17 I 18
17 18 14
14 15
15 U I
10
10 D 12
12 U11
244 10 11 12 13 1218 19 245 15 16 15
15 12
12246 9
9 11
110
8
8 9 11 13 16 13 17 8 18 14 15 10 12
10 11 10 12 7 159 12 7 99 11 11 9
8 9 11 12 6 8 6 8 0
11 13 8
10 12 U II 7 9 7 9 11 9
D U D U D
112 – EarlyDD in 2022, one U of my other projects,DD WeUU Are8In Transit, released our debut D album
D D6 U8 D
Ex.244 9
D
D
11
U
U 13 U
U
245 11
D 246
12
I U
U II
D0
D6 D U
U
U8
U II
244
Ex. 112 245 246 D U D
The244End 9 Of U Noise. This selection is from the tune “Lone Presence Supreme.” Using double
10 12 D U 7 9 I 7 9 11 9
D 11 D U 6 8 D U 6 8 U I D U
= 120 245
M
246
M
thumping
247
Ex. for
112
D U this
D U D Uriff
D Umade
D U D the
U D Umost
D
U
sense because it’s
248 D U D U D U D U
I Pa continuous
D U I H
249
stream
D U D U of
D U16th
D U DnotesU D U and
D U D U
the endings = 120of each repetition have increasingly wider and
M wider M
intervallic jumps. Maintaining
Ex. 112
D U D U D U D U D11
12
12 U
I P 8D U I H 0
0
11U D 13
UD U D 248 D U D U D U D U D UD U D U DU D U D UD U D U
your247endurance 10 throughout a section like this is much 9 harder with
M finger style than 0it is 11with 99
13 8 249
9
= 120
11
10 12
12 12
U 6 8
7
7 9 M 6 8
7
7 9
9 11
9 11 11 13 6 8 8 U I H 6 8
double247
9
thumping.
D U D U 10
11
D U This
D U D is
12 made especially
U D UD U D 248 D U Dmore
6
difficult because the
U D U 7D U 9
8
I P D
6
249 ends
D U D 7of
8
the phrases have
U D 9U D U D U 11D U D9 U D U

lines that are incredibly angular and complex. 4 P3 3 H 4

Ex. 112
6 5 5 5 5 6 5 5 5 5 6 5 5 5 5 6 5 5 5 5 6 5 5 5 5 6 5 6 6 5 5 5 5 6 5 5 5 5 6 5 5 5 5 6

Ex. 112Ex.6=112
120
5 5 5 5 6 5 5 5 5 6 5 5 5 5 U6
U 5 5 5 5 6 5 5 5 5 M
I
4 P3
M
P D U I
M3 H 4
6 U5 I 6 MH
H
6 5 5
5 5 6 5 5 5 5 6 5 5 5 5 6
D U D U
D D U DUU DD UU DD UUDD UU D 248 D U D
D U D U
U D D U I D D UUD
U D U DDUU DD UU D D UUD D U U D U
247
1.
247 D = 120
U U D U D D
U2482.
D U U D U M
P
4 3 M3 4249
249 3.
D U D D U D U
6 U5D5 U5 D5 U6 D5 U5 D5 U5 D6 U5 D5 U5 D5 6 5 5 5 5 6 5 5 5 I5 P U
D6 5 6I H
247 D 248 D U D U D U D U 249 D6 U5 D5
U5 D5 U6 D5 U5 D5 U5 D6 UM5 D5 U5 D5 U6
1. M U D U I 2. M D U I D 3. I D U
I
I
T H
U D U I P D U I M D D U I D U I U I T IH TIP D U M
250 D 251 P P
P H 252 I T I
1. M U D U I 2. M D U PI D 3. I D U I
I
T H
U D U I P D U I M D D U I D U I U I 3 T IH 4 TIP D U M
250 D 251 P 4
4 33 3 4 252 I T I
6
6 55 5
5 5 5 M5
5 66 55 5
5 55 55 66 U5 5
5 U
5 D 5
5 55I 66 5 5 5
5 5 5 6
5 5 5 5
6 5 5 5
5 5 6 5 66 6I 55D 5
5U 5
5I 55 66 55 5
5 55 55 6 6T 5
5 H5
5 5 5 5 6
U I M D D U I M D5 U4 I3 6
D 5
3
6
I
5 6
U 6D 5U5 I 5 5P 6 D5 5 5 5 6 5 5 5 5 251 D U I U T I 4 TIP
250 D 6 5 5 5 5P 6 5 5 5 5 6 5 I 6 252 6 5 5 5 5 6 5 5 D5 U5 6 5 5 5 I 5 T 6I
H
P P P
1.
1. 2.
2. 3.
3. 5 6 8
4 4 7 4 7 5 M
M H 5
1. 4 P3 3 4 U6 D U I 2. 4 P3 3 4 6 3. 6 D U I P H 0
5 5 5 5 5 MM 6 U5 I6 M U D5 U3 I 5 5 I5 M M 6 U5 I 6 D
D U II D
U D5 3 6 II D 5 U3 I 6 9 8 II 5 T
T6 M6H 8 3
II P D U I M D
D D U
D U I D U I
D U D U
250 D U D U
P D 4 P D I U II 4 T
U T II 7 252 I6 D U I T
4 T P
I 7P 5 D
D U
U I T I5
250 M
4 P3 3 4 U6 D U I 251251 P
4 P3 D3 U4 I 6 D 252 P T HH I 0 T I
I D6 U5 I6 M D D5 U5 I 5 M D6 U5 I 6 I
5 5 5 5
250 D U D U
5 P 5 3 P 5 U3 I T6 I 5 3 T6I P D9 U8 5 6 6 8 I T3 I
4 251 4 7 252 4 7 5 5
4 3 3 4 6 4 3 3 4 6 6 0
5 5 5 5 5 6 5 6 5 3 5 5 5 6 5 6 5 3 6 5 3 6 9 8 6 3

H
H
P
P P
P P
P
5
5 6
6 H8
8
P 4
4 P 4
4 7
7 4
4 7
7 P5
5 5
5
4
4 3
3 3
3 4
4 6
6 4
4 3
3 3
3 4
4 6
6 6
6 5 6 8 0
0 16/17
5
5 5
5 5
5 5
5 5
5 6
6 5
5 6
6 5
5 3
3 4 5
5 5
5 5
5 6
6 5
5 6
6 5
5 3
3 4 6
6 7 5
5 3
3 4 6
67 5 9
9 8
8 6
6 3
3 5
4 3 3 4 6 4 3 3 4 6 6 0
5 5 5 5 5 6 5 6 5 3 5 5 5 6 5 6 5 3 6 5 3 6 9 8 6 3 16/17

42
16/17
Progressive Thump
Chapter 6
Ex. 113 – Double thumping isn’t all just about making things easier though, it’s also a sound to
be used at our disposal. This excerpt, from my other project Svengahli’s debut EP Nightmares
Of Our Own Design, is a perfect example of that. Even though this riff isn’t nearly as physically
demanding as some of the previous examples, the percussive sound of this technique really
gets those wider intervallic jumps to pop out. It also makes the lower chugging notes sound
tighter because of the inherently sharper attack that double thumping has.
Ex. 113
Ex. 113= 110
Ex. 113 I M
D =U110
D U I D U D U I D U D U I D U D U I
D U D U M I D U D U I M D U D U
253 254 255
D U D U I D U D U I D U D U I D U D U I
D U D U M I D U D U D U D U
253 254 255

7 7 5 5 2 2 2 0
4 7 4 4 4 4 4 5 5
3 3 3 3 X 3 3 3 3 X 1 1 1 1 7 5 7 5 3 5 2 2 2 0 1 1 1
Ex. 113 4 7 4 4 4 4 4 5 5
3Ex.
3 113
3 3 X 3 3 3 3 X 1 1 1 1 5 3 1 1 1
= 110 I M
D =U110
D U I D U D U DI U D U I I M D U D U I D U D U I
D U D U M I D U D U D U D U
253 D U D U I D U D U I 254
D U D U D U D 255 I D DU U
256
D U D U I D U D U I D U DD UU D UI 257 254 M I D U D U U D U I DD UU D
D U D U DU U
258 D U D I D U
I D U I
253 255
D U D U I D U D U D U D U D U I U D U
256 D U D U I 257 D U D U 258 D U D I I D U

7 7 5 5 2 2 2 0
5 5 5 5 X 3 3 3 3 7 5 4 7 7 5 5 52 2 2 0 54 54 5 4 5 4 5 47 57 5
3 3 3 3 X X 3 3 3 3 X 1 1 1 1X 4 4 4 4 4 74 2 2 2 3X 5 7 7 7 7 4 4 4 4 4 5 5 0 10 1
0 1
3 33 3 3 3 5X 53 53 53 3 X 3 X3 13 13 1 1 5 3 5 5 5 5 5 5 7 7 1 1 1
X X 4 4 4 4 4 2 2 2 X 5 7 7 7 7 0 0 0
3 3 3 3
Ex. 114 Ex. –D Another
D U114
thing to DDkeep
U D U
in mind
I
isDthat
U D this
U technique can be used in ANY context, not
U I D U D U I U D U I D U D U D U I D U D U
258 D U D
U I D U I D U
just256metal!
D U D Here
256 Ex. = 114
140 U I is an
D U D U example
I from a tune
257
257
Dentitled
U D U “Checklight
D U D Delirium”
U D U I D U D U that was
258 D U D
U written
I D U by I D U
my259friendI and
= 140 D great
U D fusion
U I M guitarist
D U Austin
D U D Loman.
U D U I wanted
260 I an
D U aggressive,
D U I M pick-like
D U sound
D U D U forD U

this259riffI without D Uhaving

D U ItoMswitchD backU Dand
U D forth
U
between
D U
260 I finger
D U styleD Uand
I M pick playing.
D U D UThere
D U isD U
absolutely nothing 5 5 wrong
5 5 Xwith using
3 3 3 3 a pick but its a better choice, 5 in my opinion,
5 5 5 5to use 5 7 7double
X 5 5 5 5 X 4 4 4 4 4 2 2 2 X 5 5 7 7 7 7 0 0 0
thumping 3 3 3 in 3 thisX context especially since
X 3 3 3 3
X this
4 4 is
4 the
4 4only
2 2 part
2 X 5 in the
7 7 song
7 7 that would require
5 5 5 5 5 7 7
0this
0 0
type of sound.
10
3 3 3 3 10 10 10
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
10 10 10 10
Ex. 114 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Ex. 114Ex.= 114
261 I D140
U D U D U D U D U D U D U I D U D U I M D U D U D U D U D 263 U
259 I
= 140 D U D U I M D U
262
D U D U D U
260 I D U D U I M D U D U D U D U
D U D UU D UD U I D MU D U DD U D U D U
261 I
259 I D U D U262D IU D U
260 I D U I M
D U DD UU I D
M U D U D
D UU D D U263D UU D U

8 0 0 0 0 0 8 0 0 0 0 0 0 0 0 10 10
10 10 0 0 100 0 0 0 0 0 0 3 4 3 1 0
10 1
8 10 0 0 0 00 0 8 0 0 0 0 100 0 0 00 0 00 0 0 0 100 0 0 100 0 0 10
0 0 0 0 0 10 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 00 0
0 0 0 0 3 4 3
0 0 1 0 0 0 0 10 0 0

Ex. 115
D U D U D U
261 I
Ex.=115125DD UU DD UU DD UU D U
D U D U D U D U
262 I D U D U I M D U D U D U D U D 263 U
261 I
U U U U U U D U D U D262
I
U D U UD U I D U DI UM
DU U
D U D DU D U
U I
D U D 263 U
264 U D D D D D D 265
I =D125 D U I I D 266 DU D I M D U 267 D U I M D U I M

I D UDUDUDUDUDU U I D U D U D U D U U I D UDU D U I M
264 DU 265 D I D 266 DU DU I M D U 267 D U I M D U I

8 0 0 0 0 0 8 0 0 0 0 0 0 0 0 10 10
81 0 0 0 0 0 8 0 0 0 0 10 0 0 0 10 1 0 0 0 0 0 10 0 0 0 0 3 4 3 1 0 1
3 3 3 3 1
0 0 0 0 0 0 0 0 0 3 4 3 1 0 1
1 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 3 3 3 3 3 3 3 3 1 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1
Ex.3 115
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Ex.=115
125
264
I
I =D125
I
U U U U U U
Progressive
UD D D D D D Thump
D UDDUUD U D U D U D U
D UU DD U D UD265U D UU
I D U D U D U D U I D
DI UDDUUDDUUDDU UD
I M
U
U
U 266U
I
DU
DUDU U M
D I
I D U DDUU D U M M
D M U I
D U D267H
U II
D U I M D U I M
M UI I MM I D U M
43
268
264 D UD U DUI 269 265 D I I 270
D D266 DU D U ID U I D U D
I 271
U 267M D IT M
I D UDU DUDU D U D U M D U D U D U D U U I D U D U H I M
268 DU DUI 269 I I 270 D D U I M D U I 271 M I M I T
 Ex. 114
Ex.= 114
140
I = 140 D U D U I M D U D U D U D U I D U D U I M D U D U D U D U

Chapter 6
259 260
259 I D U D U I M D U D U D U D U
260 I D U D U I M D U D U D U D U

10 10 10 10
10 0 0 0 0 0 10 0 0 0 0 0 0 0 0 10 0 0 0 0 0 10 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Ex. 115 – This example is more just for fun since it wasn’t originally recorded on electric bass.
261 I D U D U D U D U D U D U D U
262 I D U D U I M D U D U D U D U D 263 U
This
261 I selection
D U comes
D U D U fromD Ua jazz
D U Dmetal
U D Uproject
262 I I had
D U back
D U in
I the
M dayD called
U D U Talking
D U D U Points.
D 263 UThe
tune this is pulled from is called “Whale Wars” and it could be a perfect example of a riff that
double thumping would make short work of. I recorded this tune on upright so there wasn’t
much 8 else 0 0I could
0 0 0 do
8 besides
0 0 0pizzicato
0 0 0 0 0but 10if I was going to play 10 it on electric, this is how I would
play it.
8 0 0 0 0 0 8 0 0 0 0 0 0 0 0 10 0 0 0 0 0 10 0 0 0 0 3 4 3 1 0 1
0 0 0 0 0 0 0 0 0 3 4 3 1 0 1

Ex. 115
Ex. 115
Ex. 115 = 125
= 125D U D U D U D U D U D U I D U D U D U D U I
U I DUDU U M D U I
I DU D U D U 266 DU D I D U D267 U D U I M D U I M
264 I D U D U D U D U D U D U265 U I D U D U D U D U I I DUDU U M I M
264 DU 265 D D 266 DU D I D U 267 D U I M D U I

1 1 1 3 3 3 3 1
1 1 1 3 3 3 3 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

M
I DUDU U DUDU D U D U MI D U D U D U D
U U I D U D U M MH I
M I M I MT
DU D I I D I D U D U D U I M D U I 271
268 I DUDU U D U D U269 D U D U U
M I D U D U D U D 270 D U H I
M I M I MT
268 DU D I 269 I 270 D U I D U I 271

H
1 1 1 3 3 3 H5 5 3 3 3 3 1
1 1 1 3 3 3 5 5 63 3 6 3 3 5 1
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 6 6 5 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

17/17
17/17

44 Progressive Thump
Chapter 7
Transcriptions

L
ike I mentioned in the previous chapter, I believe that the best way to develop any technique
is to figure out how to apply it to your own music. Sitting down with a metronome and running
through these exercises is absolutely necessary but the real end goal is to be able to apply
these techniques, in your own personal way, to whatever musical situation that you may find yourself
in. My journey with these techniques began this way and I know it’s what allowed me to discover my
own personal approach.

In this chapter you’ll find three full transcriptions of songs and a soli transcription from a
few of the bands that I currently play for, or have been involved with. Each transcription will be
accompanied by a brief history of the song and detailed descriptions of my thought process for using
these techniques.

Progressive Thump 45
 Chapter 7
Exist – “Self Inflicted Disguise”
I’d be remiss if I didn’t include a transcription of the tune that started it all! I have the first minute
and a half of this song to thank for being the catalyst that started my journey into developing this
technique. It’s what got me thinking about using my index/middle fingers as the beginning of the
groupings and it forced me to practice string skipping within the groupings. This became the basis
for how I think about this technique and these realizations have informed every aspect of how I now
use it.

There were two particular riffs in this song that gave me problems with the first being the riff that
starts right at the beginning in bar 2. Those octave jumps, at that tempo, were always a struggle for
me. No matter how many different ways I had tried to approach playing them, they never got any
easier or felt any more comfortable. I even had to record that riff as 8th notes on the record because
I couldn’t get those 16th notes to sound solid at that tempo... That however could’ve been the straw
that broke the proverbial camel’s back because it wasn’t long after this recording that I discovered
these newer ways of using double thumping!

One of the reasons the ability to use your index and middle fingers at the start of each grouping
makes those long string skips infinitely easier is that you don’t have to re-adjust the positioning of
your hand. Your hand can stay in one position the entire time because your thumb takes care of all of
the notes on the lower strings and your index/middle fingers covers all of the higher notes. Since this
is very similar to how double thumping is typically used, it wasn’t that
uncomfortable to start using it in this sort of backwards way.

There are two different patterns you can use for this riff, one
starting with your middle, which I included in this transcription, and
one that starts on your index finger. Both of these are totally viable
options but I found that using the middle finger grouping flows a little
easier. Try both out to see which one suits you best!

The second riff that continually gave me issues is also the one
that is the original catalyst for my development of this technique. I I
had tried SO many different picking patterns over the years for the
riff that starts at measure 17. Each had it’s own set of issues: Using
only two fingers was never quite fast enough to be able to keep up
for the duration of this section and using three fingers became too
complicated because of all of the string skips. This was made especially more difficult because the
riff is grouped in 4’s rather than 3’s... This section forced me to think about various ways that you
could cross strings within the groupings and it also got me thinking about consecutively switching
which grouping I’m using. You can see that in measures 17 and 18, I go from a grouping of 4 (M, D,
U, I) to 2 (D, U) right into groupings of 3 (D, U, I).
46 Progressive Thump
 Chapter 7
Even though the ostinato that the bass plays after the solo in measure 109 is not conceptually
hard, it’s fast enough that maintaining it with finger style was still a challenge for me. Using a
grouping of four, whether it be Down, Up, Down, Up or Down, Up, Index, Middle, makes this section
incredibly easy to play and maintain. This goes back to an earlier point I made of using this technique
as a means of making sure what I’m playing is rhythmically smooth and fluid. As bassists, it’s much
more important to be playing something that is relaxed, smooth, and in the pocket than something
that is stressed, frantic, or rushed. We’re the foundation of the band and as the foundation we need
to be as solid and comfortable as possible.

This concept of relaxation applies to everything in measures 157 to 202 as well. Since these
riffs are based of off the 5/16 ostinato from the previous section, it only made sense to continue on
with using double thumping here as well. The vast majority of the first riff from measures 157 to 172
is still groupings of 4 but this time there are a few groupings of 5’s and 3’s interspersed throughout
the section to break up the rhythmic flow. These were easy to navigate because all you have to do
is add one index pluck in there to create an odd grouping; 3 being D, U, I and 5 being D, U, D, U, I.
Conceptually not very difficult and fairly easy to pull off.

In measure 173, I introduced a higher, sustained note to the pattern. This would be much more
difficult to pull off finger style at this speed, since you have to cross over two strings, but with double
thumping it’s no problem. This riff inspired the creation of the exercise earlier in this book (Ex. 43 The
Stationary Ladder) because of how the thumb pedals on one lower string while jumping up across to
strike the other strings above it. Wide intervallic jumps are no match for double thumping!

Progressive Thump 47
Chapter 7 “Self Inflicted Disguise” 1

Self Inflicted Disguise

Bass Part
Exist
Standard tuning
Moderate = 130
M T I D
D U I D U I M D U I M D U I U I M D U I M D
MD U I I M
D U D U M I I M
1 3 3 2 3
el.bs.

4 4 1 3 4 4 1 3 4 3 1
1
0 0 0 4 3 0 0 0 4 3 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

U T I D U
U I M D D M I D U I
U I M M I H P
4
I M I M 5 I M I 6

3
H P

4 1 3 4 3 1 4 1 3 4 6 4 6 4 3 2 2 5
1 1 1 1 1 1 1 0 0 0 4 4

M T I D
M D U I M D U I U I M D
M D U I U I M
7 8
I M

4 4 1 3 4 4 1 3 4
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

T I D U I T U I T I
I D U I I D
9 10 11 D U I T

2 2 5 5 3 3 6 (6) 6
0 0 0 4 4 4 2 2 2 5 5 5

Sim...
12 13 14 15

9 9 12 12 10 10
6 (6) 6 1 1
7 7 7 11 11 11 9 9 9 0 0 0 0 0 0

48
1/9
Progressive Thump
Chapter 7 “Self Inflicted Disguise” 2

Progressive Thump 49
Chapter 7 “Self Inflicted Disguise” 3

50 Progressive Thump
Chapter 7 “Self Inflicted Disguise” 5

Progressive Thump 51
Chapter 7 “Self Inflicted Disguise” 6
P
P P P
sl.
81 E7b9 82 83 84

3 3 3 3 3
P
P P P sl.
16 15 13
15 14 12 14 15 14 12 15 (15) 14 12 14 15 14 12
11 (11) 14 11

P P P P
G maj7
sl. H P H
85 86 87 88

3 3 3 3
P P P
P sl. H P H
11 9 11 9 11 9
12 11 9 11 9 11 9 7
10 12 10 9 12 9 7 9 9 7 6 7 9 7 9
10 7

H H
E maj P H
P P H H
89 90 91 sl. 92

H
P P H H P sl. H H
13 16 13 9 11 8 9
6 9 7 11 9 11 131416 1413 14 14 13 9 9 11 9 11 9 11
97 9 7 11 9 11 12 14 1214 14 14 16 14 9 11 11
16 1412 11

H
G maj7 H H
D Maj7
93 H H 94 95 96

H H H H H
7 4 9 7 4 9 6 11 7 12 14 16
9 7 5 4 5 5 7 9 11 12 12 14 14 16
12 7 9 5 7 5 7 7 7 5 9 7 10

D maj7
G maj7

97 98 99 100

18 18 16 19 21 18 (18) 19 19 21 18 (18)
16 12 11 14 12 12 11 14

F# maj7 (#11) P P
101 102 103 104

3 3
P P

10 (10) 11 8 11 10 8
11 9 11 (11) 8

5/9

Progressive Thump 52
Chapter 7 “Self Inflicted Disguise” 7

105 106 107 108

(8)

Vocals
D
109 DUDU DUDU DUDU
110 UDU sim.......... 111 112

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

113 114 115 116

22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

117 118 119 120

2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

121 122 123 124

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

125 126 127 128

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2

129 130 131 132

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

6/9

53 Progressive Thump
Chapter 7 “Self Inflicted Disguise” 8

133 134 135 136

22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

137 138 139 140

2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

141 142 143 144

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

145 146 147 148

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 2 2 2 2 2 2 2 2

149 150 151 152

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

153 154 155 156

22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Breakdown
157 D U D U D U D U D U D U D
158 U D U D U D U D U D U D U 159 D U I D U I D U D U D U D

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

7/9

Progressive Thump 54
Chapter 7 “Self Inflicted Disguise” 9

U D U D U D U D U D U D U 161 D U D U D U D U D U D U D U D U D U D U D U D U D U
160 162

0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0

163 D U I D U I D U D U D U D 164 U D U D U D U D U D U D U 165 Sim...

0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0

166 167 168

0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0

D U MI D U D
169 170 171 172

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0

I D M U D
173 DUI DUDU DUDU
174 UDU DUI DUDU D U I 175 D I DUDU DUDU 176 UDU DUI DUDU DUI

let ring let ring

3 4

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Sim...
177 178 179 180

let ring let ring

3 4

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

181 182 183 184

let ring let ring

3 4

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

8/9

55 Progressive Thump
Chapter 7 “Self Inflicted Disguise” 10

I M DU
185 186 187 DUI DUDU DUDU I 188 DUI DUDU DUD

let ring let ring let ring

4 6
4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

189 U 190 191 Same as 1st section... 192 193 194

0 12 0 000 0001 0 000 0 0 00 0000 0001 0 0 0 00 000 0 000 000 0 0000 0001 0 000

195 196 197 198

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0

199 200 201 202

0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0

sl.
203 204 205 206

sl.

6 3 3 6 3 0
2 0 3 2 0 2 0 3 2 0

sl.
207 sl. 208 209 sl. 210

sl. sl. sl.

8 5 5 8 5 2
4 2 5 4 2 4 2 5 4 2
6 3 3 6 3 0
2 0 3 2 0 2 0 3 2 0

9/9

Progressive Thump 56
 Chapter 7
Malignancy – “Contagious Psychosis”
Even though I wasn’t on their EP Malignant Future, “Contagious Psychosis” is a tune that I’ve played
on almost every Malignancy gig so far and is a tune that is prime example of the benefits of using
my double thumping technique. It covers all of the various usages of this technique and forced me to
think outside of the box with creating some of the picking patterns. I would not want to have to play
this song without this technique!

The main difficulty that this tune presents is wide and complex string skips. This is the most
apparent in the main riff of the song that starts right in measure 3. In less than half a measure, the
riff covers the distance of a 14th and all 5 strings are used. This riff is an accuracy nightmare and
will need to be worked on methodically and very slowly to make sure that the transition between
each string is strong. It’s also another example of how we want to be open to the idea of switching
between the different groupings on a dime. Both the 3 and 4 groupings are used in one measure so
being comfortable quickly switching back and forth is a must.

Like with many other brutal death metal tunes, speed is also an issue in “Contagious Psychosis”.
The riff starting in measure 29 has sustained groups of 8th note triplets that when coupled with the
diminished arpeggios, become a challenge to play smoothly. 8th note triplets at 160 bpm are totally
doable finger style but it’s right in that middle tempo territory where it can be a challenge. As I’ve said
before, I’d rather have something feel smooth and relaxed
than just try to push a technique that can’t do what I want
it to.

This is then followed up by an even faster riff in

measure 37 that I would be unable to play without using
double thumping. Those groupings of 16th notes are
fast enough that I would not be able to accentuate them
properly otherwise. I’m always for simplifying a part if
need be, so I could’ve just turned those 16th notes into
8th notes, but in this case I could keep up with what
the guitars were doing. Sometimes it can be hard to
fight the desire to want to be playing the same rhythmic
subdivisions as the guitars but in most cases its not
always necessary. Every instrument has it’s purpose in
an ensemble and ours is to lay down a solid foundation.
You don’t see the tubas trying to playing the violin parts in
orchestras do you?

57 Progressive Thump
Chapter 7 “Contagious Psychosis” 1
Contagious
Contagious Psychosis
Psychosis
Contagious
Contagious Psychosis
Psychosis
Malignancy
Malignancy
Tune down 1 step
Contagious
Malignant
Malignant
Psychosis
Future
Malignancy
Contagious Psychosis
Malignant Future
Malignancy
Future
Tune
= Fdown 1=step
G =A Malignancy
Malignant Future
=C
Tune
= Fdown 1=
=step
G
D =A Malignancy
Malignant Future
=
=C
Tune Fdown 1= D
=step
G =A
Moderate
Fdown = 140 Malignant Future
=C
Tune Moderate= A =
1= G
D
step 140
=C
Tune D 1=
Fdown D
Ustep
G D =A D U D D U D D U D
=C
Moderate
F D 3= UD G D =UA
= 140 D 3U D U P D U D 3U D U D 3U D U P D U
1 D Moderate
3 U = 140 3U U P D U 2 3U U 3U U P D U
=C =
UD D D D D D D D
D Moderate = 140
1 2
3U D U D 3U D U P D U D 3U D U D 3U D U P D U
1 Moderate
D 3U D U = 140 D 3U D U P D U 2
D 3U D U D 3U D U P D U
1 U 2 U
el.bs.

D 3U D D 3U D U P
P D U D 3U D D 3U D U P
P D U
el.bs.

1 U 2 U
3 3 U P D U 3 3 U P D U
1 2
el.bs.

7 7 7 8 7 7 7 8 P 7 6 5 7 7 7 8 7 7 7 8 P 7 6 5
el.bs.

7 7 7 8 7 7 7 8 P 7 6 5 7 7 7 8 7 7 7 8 P 7 6 5
el.bs.

7 7 7 8 7 7 7 8 P 7 6 5 7 7 7 8 7 7 7 8 P 7 6 5
el.bs.

7 7 7 8 7 7 7 8 P 7 6 5 7 7 7 8 7 7 7 8 P 7 6 5
7I D7 U 7I 8 M I D U 74 7Sim...7 8 7 6 5 7 7 7 8 7 I 7D 7 I 8
U D7 U I6 D U
5 I
3 5 6 U
3 7I D7 U 7I 8 M I D U 74 7Sim...7 8 7 6 5 5 7 7 7 8 67 I 7 D U
7 I 8 D7 U I6 D 5 I

I D U I M I D U Sim... I D U I D U I D U I
3 4 5 6
I D U I M I D U Sim... I D U I D U I D U I
3 4 5 6
I D U I M I D U Sim... I D U I D U I D U I
3 4 5 6
U 4M I 4 4 I D U I
3 I D I
4 4 3D 0U 4 Sim...
4 4 3 0 5 4 4 3 0 6 I D U I D U
2 4 3 0 2 4 3 0 2 4 3 0 2 5
1 2 4 1 2 4 1 2 4 1 2 5 6 5
1 3 2
2 4 4 3 0 1 3 2
2 4 4 3 0 1 3 2
2 4 4 3 0 1 3 2
2
3 5 6 5 6
5
3 2 4 3 0 3 2 4 3 0 3 2 4 3 0 3 2 3 5 6
1 2 4 1 2 4 1 2 4 1 5 6 5
1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 2 3 5 6 5 6
3 2 2 4 3 0 3 2 2 4 3 0 3 2 2 4 3 0 3 2 2 3 M5 6 M 5
1 2 1 2 1 2 1 M 5 6 5
7
1 3 2 8
1 3 2 9
1 3 2 10 I 3D
1I D 2U I2 3 5 I6 M
U I I 5 6
7 3 2 8 3 2 9 3 2 10 3 2 3 M5 6 M
7 8 9 10 I D U I M I
M
7 8 9 10 I D U I M I
M
7 8 9 10 I D U I M I
4 4 4 8 8M
10 I D U I
7 4 4 3 0 8 4 4 3 0 9 4 4 3 0 8 7I 8 6
2 4 3 0 2 4 3 0 2 4 3 0 2 7 6
1 2 4 1 2 4 1 2 4 1 2 8 8
1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 8 7 8 6
3 2 2 4 3 0 3 2 2 4 3 0 3 2 2 4 3 0 3 2 2 7 6
1 2 4 1 2 4 1 2 4 1 8 8
1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 4 4 3 0 1 3 2 2 8 7 8 6
11 3 2 2 3 4 3 0 12 3 23 2 4 3 0 13 3 2 2 34 3 0 14 3 32 2 7 6
11 1 2 3 121 3 2 113 2 3 14 1 32 2
1 3 2 1 3 2 1 3 2 1 3
11 3 2 3 12 3 23 13 3 2 3 14 3 32
11 3 12 3 13 3 14 3
11 3 12 3 13 3 14 3
11 3 12 3 13 3 14 3
1
6 1 1 4
4 6 4 3 2 3 3 2 4 3 2 4 1 4 3 2 3 3 2 4 3 4 4
4 4 3 2 3 3 2 4 3 2 4 1 4 3 2 3 3 2 4 3 4
6 1 1 4
4 6 4 3 2 3 3 2 4 3 2 4 1 4 3 2 3 3 2 4 3 4 4
1
4 = 956 4 3 2 3 3 2 4 3 2 4
1
4 3 2 3 3 2 4 3
4
4
15 4
= 956 4 3
16 2 33
H 3 3 2 4H 3 H P 2 174 1
1
18 34 3 H2 3 3
H3 2H P 4 3 19 4 4
H
15 4 = 95 4 3
16 2 33 3 3 2 4H 3 H P 2 174 18 34 3 H
2 3 3
H
3 2H P 4 3 19 4
15 = 95 16 3
H
3
H H P 17 18 3
H
3
H H P 19
15 = 95 16 3
H
3
H H P 17 18 3
H
3
H H P 19
15 = 95 16 3
H
3
H H3 P 17 18 3
H
3
H H3 P 19
H3 P H3 P
H H H H
15 16 3 H 3 H H P 17 18 3 H 3 H H P 19
H H H3 P H H H3 P
3 4 3 3 4 3
1 H4 1 H4 3 H43 P3 5 1 H4 1 H4 3 H43 P3 5
1 H4 1 H4 H P 5 1 H4 1 H4 H P 5 1
2 2 2 2 2 2 4 32 4 32 3 43 3 2 2 2 3 4 32 4 32 3 43 3 2 2 2 1
2 2 2 2 2 2 4 32 1 H4 4 32 1 H4 3 H43 P3 5 2 2 2 3 4 32 1 H4 4 32 1 H4 3 H43 P3 5 2 2 2
1
2 2 2 2 2 2 4 32 1 H4 4 32 1 H4 H P 5
2 2 2 3 4 3 2 1 H4 4 32 1 H4 H P 5
2 2 2
3 4 3 3 4 3 1
23 2H 3H2 1 4H 4P 32 1 4 3 4 3 5
H
3 2 31 4 4 H3 2 1H 4 P 3 4 3 5
20 2 2
H
2 2 3 4
H
21 2 222 2 33
H
4
H
23 2 2 2
1
20 23 2 2 2 2 2 3 4 32 1 4H 4P 32 1 4
21 5 2 222 2 33 4 3 2 31 4 4 32 1H 4 P 523 2 2 2 1
H H H H
20 23 2 2 2 2 2 3 4 32 H 4P 3 2 21 2 222 2 33 4 32 3 4 32 H P 23 2 2 2
H H H H
20 3 3 H P 21 22 3 3 H P 23
H H H3 P H H H3 P
20 3 3 21 22 3 3 23
H3 P H3 P
H H H H
20 3 H 3 H H P 21 22 3 H 3 H H P 23
H H H3 P H H H3 P
3 4 3 3 4 3
1 H4 1 H4 3 H3
4 P3 5 1 H4 1 H4 3 H3
4 P3 5
1 H4 1 H4 H3 P 5 1 H4 1 H4 H3 P 5 1
4 3 2 4 3 2 3 4 3 2 2 2 3 4 3 2 4 3 2 3 4 3 2 2 2 1
4 3 2 1 H4 4 3 2 1 H4 H3
3 4 3 5
P 2 2 2 3 4 3 2 1 H4 4 3 2 1 H4 3
3 4 3 5
H P 2 2 2
1 H4 1
4 3 2 4 3 2 1 H4 H P
3 4 3
5 2 2 2 3 4 3 2 1 H4 4 3 2 1 H4 H P
3 4 3
5 2 2 2 1
4 3 2 1 4 4 3 2 1 4 3 4 3 5 2 2 2 3 4 3 2 1 4 4 3 2 1 4 3 4 3 5 2 2 2
1 4 1
4 3 2 4 3 2 1 4 5 2 2 2 3 4 3 2 1 4 4 3 2 1 4 5 2 2 2 1

58
4 3 2 4 3 2 2 2 2 3 4 3 2 4 3 2 2 2 2 1/3
Progressive Thump 1/3
1/3
1/3
1/3
1/3
Chapter 7 “Contagious Psychosis” 2

= 140
24 3 25 3 26 3 27 3

1
6 1 4
4 4 3 2 3 3 2 4 3 2 4 4 3 2 3 3 2 4 3 4

D U D U D U D U D U D U I
= 160 M Sim...
3 3 3 3 I M
I
3 3 3 3 3
28 29 30 31 32

3 3 3 3 3
3 3
7 10 13 4 7 10
6 6 12 12 3 3 9 9
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 11 11 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 8 8

3 3 3 3 3 3 3 3
33 34 35 36

3 3 3 3 3
3
7 10 13 4 4
6 6 12 12 6 6
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 11 11 5 5 5 5 5 5 5 5 5 5 5 5 8 5 8 5

= 180 M
I D U D U I D U D U D U 38 I D U D U I D U D U 39 Sim... H D U
37 40

2 4
0 2 5 3
4 2 2 2 2 4 2 2 2 2 5 2 4 2 2 2 2 4 4 2 4 2 2 2 2 4 2 2 2 2 5 2 4 2 2 2 2 4

41 H P H P H P 42 H P H P H P 43

3 3 3 3 3 3
H P H P H P H P H P H P
1
3 4 3 3 4 3 3 4 3 3 4 3 3 4 3 3 4 3
0 5 5 5 0 5 5 5
3 4 3

44 H P H P H P 45 H P H P H P 46 47
M

3 3 3 3 3 3
H P H P H P H P H P H P
1 1 1
3 4 3 3 4 3 3 4 3 3 4 3 3 4 3 3 4 3
0 5 5 5 0 5 5 5
3 4 3

P P
48 I D U D U I D U D U D U 49 Sim... 50 51 H 52

59
P P
H

0 2
2 4 Progressive
5 3
Thump
6
7
7 7 5 5 5 3
4
5
4 2 2224 2 2225 2 4 2 2224 4 2 4 2 2224 2 2225 2 4 2 2224
 44 H P H P H P 45 H P H P H P 46 47
M

Chapter 7
0
H P

3 4 3
3

5
3
H P

3 4 3
5
3
H P

3 4 3
“Contagious Psychosis”
5 0
H P

3 4 3
3

5
3
H P

3 4 3
5
3
H P

3 4 3
5
1 1 1 3
3 4 3

P P
48 I D U D U I D U D U D U 49 Sim... 50 51 H 52

P P
H
7 7 5 5 5 3
2 4 6 4
0 2 5 3 7 5
4 2 2224 2 2225 2 4 2 2224 4 2 4 2 2224 2 2225 2 4 2 2224

= 130
53 54 55 56
2/3

4 1 4 1
0 1 2 0 1 1 0 0 1 2 0 1 1 0
2 4 2 4 1 0 2 4 2 4 0 1 0
4

57
= 180 58 59 60 H 61
P P

P P
H
7 7 5 5 5 3
2 4 6 4
0 2 5 3 7 5
4 2 2224 2 2225 2 4 2 2224 4 2 4 2 2224 2 2225 2 4 2 2224

= 130
62 63 64 65

4 1 4 1
0 1 2 0 1 1 0 0 1 2 0 1 1 0
2 4 2 4 1 0 2 4 2 4 0 1 0
4

66 67 68 69
4x

5 5
1 2 4 1 2 4 5 4 2 4 2 1
2 3 3 3 2 3 3

Same Fingerings As Intro...

70 71 72 73

4 4 4
4 3 0 4 3 0 4 3 0
2 2 2 2 5
1 1 1 1 5 6
3 2 3 2 3 2 3 2 3 5 6

D U D
3 U
74 75 76 77 78

4 4 4 8 8
4 30 4 30 4 30 7 6
2 2 2 2 7 7 7 8
1 1 1 1
3 2 3 2 3 2 3 2

Progressive Thump 60
 Chapter 7
Wormhole – “The Weakest Among Us”
Back in 2018, I recorded on the Baltimore based tech-slam band Wormhole’s sophomore record,
The Weakest Among Us. There are many moments throughout this record where I had to use my
technique but I chose this tune because of how it actually used the regular slap technique along
side of the double thumping. It’s also a great example of only using the double thumping technique
when necessary.

I played most of this tune finger style, since most of it is slams, but there are still lots of little fills
like measures 6 – 8 and 14 – 16 sprinkled throughout that felt like they needed something else. Many
of these fill measures included wide intervallic jumps that were then followed up with a consistent
string of 8th notes. In some of these moments, like measures 47 – 49, I actually used the typical slap
technique because of the way the riff was shaped and because of how I wanted an extra aggressive
attack to accentuate the end of the section. Double thumping is absolutely an aggressive technique
but slap is even more so because of how you’re striking the string instead of picking through the
string. It’s like hitting a drum instead of plucking a string.

The other main purpose for using this technique in this song was for the riff that first appears in
measure 34. This riff isn’t played at an incredibly fast tempo but I chose to use double thumping here
because of how it alternates strings rapidly. I would’ve been using the technique regardless for the
licks that are in measures 36 – 37 and 40 – 41 so it just made the most sense to me to double pick
everything else in the section.

61 Progressive Thump
Chapter 7 “The Weakest Among Us” 1

The
The Weakest
Weakest Among
Among Us
Us
Wormhole
Wormhole
The Weakest Among Us
Standard tuning
The Weakest Among Us
Standard tuning
= 243
= 243
1 2 3 4
1 2 3 4
el.bs.
el.bs.

0
0 4 1 2 4 0
4 1 2 4 2 0 3 2 2
0 0 0 2 2 2 2 2 3 2 2
0 0 0 2 2 2 2

I T M I P
sl. T H I T I sl. D U D U D U M
5 6 7 8 I P
sl. T H I sl. D U D U D U
5 6 7 8

P
sl. H sl.
sl. H sl. 6 6 P 4
0 5 2 4 6 6 4 5 4
0 4 1 2 4 5 2 4 5 4
4 1 2 4 0 3 X 2 2 6 6 5 5
0 0 3 X 2 2 6 6 5 5
0

9 10 11 12
9 10 11 12

0
0 4 1 2 4 0
4 1 2 4 2 0 3 2 2
0 0 0 2 2 2 2 2 3 2 2
0 0 0 2 2 2 2

D U
13 14 sl. TH M I 15 D U D U D U D U 16 D U D U D U 17 I
13 14 sl. TH M I 15 D U D U D U 16 D U D U D U 17 I

sl. H
sl. H
0 5
0 4 1 2 4 5 0 4 2 4 5
4 1 2 4 0 3 0 2 2 2 2 4 2 4 5 2 3 2 0
0 0 3 2 2 2 2 2 3 2 0 2 3 0
0 2 3 0

18 19 20 21
18 19 20 21

2 4 4 2 2 2
2 2 4 4 2 2 2 2 2 2 2 2 2 2
0 2 3 2 2 2 2 2 2 2 2
0 3 2

22 23 24 sl. 25 P
22 23 24 sl. 25 P

sl. P
sl. P
4 4 5 5 4 4
2 4 4 5 5 4 4
0 2 0 2 3 3 2 0 2 2 3
0 0 2 3 3 2 0 2 2 3

Progressive Thump 62
1/7
1/7
Chapter 7 “The Weakest Among Us” 2
26 27 28 29

4
2 4
2 2 2 2 2 2 2
0 0 2 3 2 0 2

30 31 32 33

4
2 4 5 6
0 0 2 3 3 2 0 2 2 3 0

D U D U D U D U
34 D U D U 35 D U D U I 36 D U D U D U D U 37 I P D U D U

4 4
4 4
10 10 9 9 6 6 7 7 9 9 2 2 2 2 5 3 2 2
0 0 0 0 0 0 0 2 2

I D U I I D U I
D U D U D U
38 D U D U 39 D U D U D U 40 D U 41 D U D U

4 4 4 4
5 5 4 4 2 2 4 4
6 6 5 2 3 2 2 2 2 2 2 2 2 2 3 2
0 0

42 Sim... 43 44 45

4 4
4 4
10 10 9 9 6 6 7 7 9 9 0 0 2 2 5 5 2 2 3 3
0 0 0 0 0 2 2

I S I S S I I S
46 47 sl. SH 48 S S 49 SH SP S S 50 S

sl. H H P

0 5 4 4 5
4 2 4
6 0 3 3 2 2 2 0 3 2 3 2 0
0 2 3 0

51 52 53 54

3 4
6 6
4 5 5 4
3
0 3 2 3 4 3 2 3

63 Progressive Thump

2/7
Chapter 7 “The Weakest Among Us” 3

55 56 57 58

4 2 4 4 2
0 3 2 3 4 4 3 2 3 3 2 2 3

59 60 61 62

4 3 2 3
4 3 2 3

0 3 2 3 4 3 2 3

3
63 64 65 66 3

0 0
4
4 3
0 0 3 2 3 4 4 3 2 3 3 3 2 3 2 1

67
= 212 68 69 70

1 (1) (1)

T I M H M
3 I
71 72 73 74 I T

3 3 3
H
4 6 11
5 4 5 10
4 3 4 9
3 2 2
2 1 2 1 2 1

3
75 76 77 78

0 0 0
4 2 4 4 4
3 2 4
2 1 2 1 2 1 2

sl.

79 80 81 82 sl.

sl.
sl.
6 10 6
5 9 4 4

64
4 3 4
Progressive
8
Thump
7 2 1 2 1 2 3
 2 1 2 1 2 1

Chapter 7
75 76 77 78

“The Weakest Among Us” 4

0 0 0
4 2 4 4 4
3 2 4
2 1 2 1 2 1 2

sl.

79 80 81 82 sl.

sl.
sl.
6 10 6
5 9 4 4
4 3 4
8
7 2 1 2 1 2 3

83 84 85 86

3/7

5
5 4

2 1 2 1 2 1 2 3 2 3 0 0 3 2 3

87 88 89 90

6 6 3 3 3
0 0 0 2 2 3 2 0 2

91 92 93 94

2 2 5 2 4 4
7 7 6 2 2
0 0 2 2 0 0

95 96 97 98

6 6 3 3 3
0 0 0 2 2 2 3 0 2

M I
99 100 sl. T H 101 D U I D U I D U 102 D U D U

sl. H

1 2 4 9
0 0 0 7 7 8 8 8 7 7 7 8 8 7 7 0 2

= 243
Same as before...
103 104 105 106 P

4 4

65
4 4
10 10 9 9 6 6 7 7 9 9 2 2 2 2 5 3 2 2
0 0 0 0 0 0 0 Progressive Thump 2 2

107 108 109 110

 M I
99 100 sl. T H 101 D U I D U I D U 102 D U D U

Chapter 7 sl.
“The Weakest Among Us” H
5
1 2 4 9
0 0 0 7 7 8 8 8 7 7 7 8 8 7 7 0 2

= 243
Same as before...
103 104 105 106 P

4 4
4 4
10 10 9 9 6 6 7 7 9 9 2 2 2 2 5 3 2 2
0 0 0 0 0 0 0 2 2

107 108 109 110

4 4 4 4
5 5 4 4 2 2 4 4
6 6 5 2 3 2 2 2 2 2 2 2 2 2 3 2
0 0

111 112 113 114

4
10 10 9 9 6 6 7 7 9 9 0 2 5 3 2 2 4/7
0 0 0 0 0 2

S S S I
115 116 sl. SH I 117 I SP SH 118 SH SP 119

sl. H P H H P
6
5 4 2 4 5 4 1
6 2 3 2 0
0 0 3 3 2 2 2 0 2 3 2 3 0

120 121 122 123

7 (7) 6 (6)

7 7 (7) 7 7 7 (7) 7 7 7 7

124 125 126 sl. 127

sl.

8 (8) (8)
(7) 7 7 (7) 7 7 7 7 7 9 9 9

128 129 130 131

11 (11) 7 (7)
0 0
12 12 (12) 12 12 12 7 7 7

Progressive Thump 66
132 133 134 135 136
 7 7 (7) 7 7 7 (7) 7 7 7 7

Chapter 7
124 125 126 sl. 127

“The Weakest Among Us” sl.

6
8 (8) (8)
(7) 7 7 (7) 7 7 7 7 7 9 9 9

128 129 130 131

11 (11) 7 (7)
0 0
12 12 (12) 12 12 12 7 7 7

132 133 134 135 136

3 (3) (3) 6 15
5 5 (5) 5 5 5 4 4 14
6 6
0

sl.

137
= 200 138 139 140

sl.
4 7 6 (6)
0 11 9 (9) 8 0
4 (4) 4
2 2

141 142 143 144

141 142 143 144

4 3 7 5/7
4 3 0 7 11 8 0
4 (4) 0 11 8 0 4
4 (4) 7 (7) 4
2 2 7 (7)
2 2

sl. sl.
sl. sl.
145 146 147 148
145 146 147 148

sl. sl.
4 sl. 7 7 sl. 9 (9) 11
0 4 7 7 9 11 (11)
(9) 11 14
4 (4) 0 4 11 (11) 14 13
4 (4) 4 13
2 2
2 2

sl.
sl.

149 150 151

149 150 151

sl.
18 sl. 15
11 (11) 18 15
11 (11) 14 17 14
10 10 14 17 14
10 10 0 (0)
0 (0)

152 153 154 155

67
152 153 154 155

Progressive Thump
 149 150 151

Chapter 7 “The Weakest Among Us”

18
sl.
15
7
11 (11)
14 17 14
10 10
0 (0)

152 153 154 155

2 3 0 3 2 (2) (2)

156 157 158 159 160

2 3 0 3 2 (2) 2 3 1 2 3 3 2

161 162 163 164

3
2
2 3 2 1 2 3 2 1 2 1 2 3 2 3 2 1 2 1 3 2 1

P
H
165 166 167 168

P
H
4 3 4 6
4 5 0
2 2 2 4
2 3 2 1 2 1 3 2 1 2 1

6/7
169 170 171 172

3
2
2 3 2 1 2 3 2 1 2 1 2 3 2 1 2 1 3 2 1

P
P
173 174 175 176

P P
15
12 11 0
16
9 8
2 3 2 1 2 1 3 2 1 2 1 2 3 2 1 0

Progressive Thump 68
 Chapter 7
Exist – “Writhe Soli”
I made sure to save the hardest example for last! The soli section thats at the end of the Exist
song Writhe is probably the most complex and physically demanding example of my usage of double
thumping. It’s much more akin to a jazz solo than a metal riff and therefore has almost no repetition
and has phrases that constantly change which right hand grouping you need to use. Add a fairly fast
tempo to the mix and you have a bass solo that is one of the craziest things I’ve ever had to record!

Much like many of the other Exist riffs that prompted the creation of my technique, this soli also
pushed me way past my limit and was a humungous undertaking to originally record. Once I got
double thumping comfortably under my fingers, I applied it to this soli and had the same results with
it as all of the other past examples. Immediately,
the speed of this passage became much more
manageable and some of those wider intervallic
jumps became less of an acrobatic feat. Even
though it may seem that using double thumping for
a solo like this would be much more complicated
than just playing it finger style, it really wasn’t. For
the vast majority of the solo, I’m only using my
thumb and index finger with the occasional middle
finger and thumb pluck thrown in there when I
needed it.

This soli section was originally recorded

playing finger style on a Conklin GT7 bass that
I used to own back in the day. The reason I had
used the Conklin on this song was because I
needed almost the entire range of the instrument.
In the middle of the solo was a passage that went
all the way up to the high F on the 24th fret! After the record was released and we started playing live
more, I became less and less interested in playing a 7 string. This soli was the only spot in our music
that required a 7 string so I didn’t want to have to lug one around just for one part, in one song. I’m
absolutely a 5 string bassist at heart and I wanted to keep it that way!

Since I mostly play a 5 string, I needed to find a way to condense the massive register usage
of this soli. Obviously I had to take into account the rest of this song too because if it was played
live, I wouldn’t want to have to switch basses in the middle of it. Luckily, the lowest note that I need
throughout the entire song is just a low E. This allowed me to eliminate the B string entirely and gave
me a little more wiggle room to have an extra higher string instead of the extra lower string.

69 Progressive Thump
 Chapter 7
The first method I tried for this soli was more of an unorthodox approach. Since the song required
the range of an E2 to a F5, I needed a tuning that would go higher than the standard E to C tuning
that bassists sometimes use for a 5 string. I can’t remember if there was anything in particular that
inspired this decision, but I realized that I could reach an F5 if I tuned my bass in 5ths instead of 4ths!
This required a bit more of a complicated set up since the new tuning was E – B – F# - C# - G#. I had
to make a new nut for the test bass I was using and I had to custom order an odd set of strings (.105
.70 .50 .25 .15) since this was obviously not a common thing for bassists to do. This yielded some
pretty amazing results, especially for soli and chord playing, but it made the riffs in the lower register
too difficult to play. When you’re tuned in 5ths you have to go all the way up to the 7th fret before you
can switch to the next string to play the same note. This made many of the tech death riffs earlier in
the song more difficult to play than they needed to be.

Around the time I was working with this new tuning, I started to become unhappy with how most
of the upper register parts of this soli came out. It felt like the bottom dropped out of the mix when
I went up into the upper register on the high F string and because of that, I wanted to find a new
way to play this soli. Since the 5ths tuning turned out to be a little too unruly, I decided to just take
the parts of the soli that needed the extreme upper register down an octave. Because of this octave
displacement, I could now play the entirety of this soli on a 5 string tuned E to C.

Measure 24 is where I decided it would be a good idea to shift the soli down an octave. There is a
slight break in the phrasing and the harmonic shift to the brighter sounding G maj7(#11) chord felt like
it made the most musical sense to change the octave there. From this moment on, I played the rest
of the soli down an octave from where it originally was. I’m much happier with how the soli is now
and you can see exactly how I performed it in the play through video I filmed back in 2019 for the
entire song.

Progressive Thump 70
Chapter 7 “Writhe Soli” 1

Writhe Bass Soli

WritheSunlight
Bass Soli
Exist

EA
A AD
DGGCC Exist
=C =D =E Sunlight
=G =A
AA D G C
= C Moderate
=D =E= 130
=G =A I I
D M I
D
DModerate = 130
U D U U D U T T D
U D U D U D U D U I U
1 2
I I
D M I
U D U D U D U T T D
U U U D U U I U
1 D D D 2 D
el.bs.

9 11 12 11
11 9 9 8 11 9 9 8 8 9 9 9 8
el.bs.

10 9 9 10 9 10 9 10 9 10

9 11 12 11
11 9 9 8 11 9 9 8 8 9 9 9 8
10 9 9 10 9 10 9 10 9 10
U D
D U I M D U D D D
D U D U U D I U U
D U D U D U D U U
3 4
U D
D U I M D U D D D
D U D U U D I U U
D U D U D U D U U
3 4

9 11 10 9 9
12 12 11 11 9 9 8 11 9 9 8 12 11 10 9
9 10 9 10 9 10 9 10 12

9 11 10 9 9
12 12 11 11 9 9 8 11 9 9 8 12 11 10 9
9 10 9 10 9 10 9 10 12
M
H I I H
U
D I D D D U M
U U U I
D D M
D U U D I H I
I D U D U U I H
5 6 U
D I D D D U M
U U U I
D D
D U U D I
I D U D U U
5 6
H H
16 18 19 16 18
9 12 15 18 16 16 15 16 15 18 16 16
9 8 11 9 9 8 11 H H
17
10 9 10 9 10
16 18 19 16 18
9 12 15 18 16 16 15 16 15 18 16 16
9 8 11 9 9 8 11 17
10 9 10 9 10
U U MP
D D D U I
D U I T
U D D UH I U D
U I D D
7 M U I D U I 8 M U MP
U U I
D D D D I
U T
U D D UH I U D
U I D D
7 M U I D U I 8 M
P
H
16 13
0 0 9 12 16 18 16 19 16 18 15 15
16 14 9 0 0 2 9 11 P
17
16 14 9 7 7 9 4 2 H4
16 13
0 0 9 12 16 18 16 19 16 18 15 15
16 14 9 0 0 2 9 11 17
16 14 9 7 7 9 4 2 4
M
M P
I I
I D D D U D U
U
U
M
9 10 M P
I I
I D D D U D U
U
U
9 10

P
16 14 13 18 14
14 16 12 18 16 19 18 16 14 16 14
16 14 17 16 19 17 P
16 14 13 18 14
14 16 12 18 16 19 18 16 14 16 14
16 14 17 16 19 17

71 Progressive Thump 1/4

1/4
Chapter 7 “Writhe Soli” 2

D MH I
I M D I M
U I D U D U U D U I T I
I H I
T
11 12

¼ ¼ ¼
H
H
14 14 16 13 13 11 10
18 14 14 16 14 16 18 18 16 18 14 16 14 12
16 14 16 16 16
16

13 14

¼ ¼

(10)
11 9 7 6 (6) 9 7
9

D U U M I
I U I D
U I U I
I I I T D D D
D U T T T
15 16

14
9 9 11 13 13 15 17 13 15 17 17
9 8 11 11 11 11 12 14 16 14 16 14 16

D I D U
U I D
U U D U I
17 D D U 18

10 9 7
11 9 7 8 10 10 9
10 9 9 10 12

I H M I D
D U U D U
D D D U
U U I
19 D D U 20

H
6 7 9
7 9 10 9 14 12
11 9 7 8 10 12 10
10 9 9 10

U I
D U D D M D U U
U I U U U U U I D
D U D D D I
D I I
21 22

15 12 11 14 12 11 14 11 11 11 12 14 11 12
14 12 11 12 14 12 14 12 14 12
12 13 13 13

Progressive Thump 72
Chapter 7 “Writhe Soli” 3

M M
I I D
D U T D D
U I U U I D U
D U U
D
23 24

13 11 14 11
12 11 12 12 11 12 11 15 10 9
14 12 10 7 8 11 10

M
D I I
U U D U D D I
D I U U
D U I D U I D U D U
25 26

3
13 13 14 15
11 9 12 14
9 12 9 12 11 12 11 12 11 12
10 9 12 10 9 12
12 10 9 10

27 28

16 13 12 11 11 10 11 11 10 13 11 13 10
14 13 12

U D
D

29 30

9 9 11
11 12 12 11 12 14 11 11 12 14 12 11 11 12 14
14

MP
U I I D U
U U I U D M D U I
T I D D U U D D
D I U
D U
31 32

P
14 12
15 14 15 14 11 11 12 14 11 12 14 15 11 12 11 12
13 14 12 14 12 14 12 13 15
14 12

M M
I I D
I M I I U I
D T I U
I U U T T T D
33 D U D 34

9 7 0 11 12
10 10 9 9 12 9 10
7 12 9 10 9 9 9 10
7 8 10 12 12

73 Progressive Thump
Chapter 7 “Writhe Soli” 4

M I I
MP I I I P
I I U T T
T D U D T T D U D U
I
35 36

P P
11 14 11 17 17 16 14 12 11 9
10 10 12 14 12 14 16 14 12 10 12 10
13 12 10

M M I M I M I
M I I
M I T T
T T T
37 T 38

14 12 14 12 14 12
10 10 13 12 15 15 15
10 12 13 13 13 12
10

M I
D
T U
39 40

14 12 14 12 14 12
(15) 15 13 12 12 10
13 13 13 12 8
13 11

D U
I MP U D U I D U I M I M
D U U I I D D U
41 I D 42 D D U U

10 9 5 5 4 7
7 7 5 5 7 6 9 7 6 7 9 10
7 5 5 7 8 7
8 7 8 5 8

I P
M I M D U D U
43 T T I I 44

9 7
9 7 9 9 6 6 7
8 10 10 8 7 (7) 8 10 8
8

45 46 47 48

7
7 8 7 (7) 7 8 (8) 10 7 (7)
9 10 9 9 0 (0)

Progressive Thump 74
Chapter 8
Final Thoughts

J
ust like any other tool in your toolbox, this technique is not the end all, be all master
technique; it’s just another tool for you to use at your disposal. However, it’s been an
incredibly useful technique for me throughout my career and I hope all of the exercises
presented in this book have been a potential inspiration for you to start your journey into
developing it!

Remember, this technique can be a challenge to control and mastering it will not
happen over night. Consistent practice, even for only 30 to 45 minutes a day, will give you the
results you’re looking for. Always be methodical and purposeful in your practice sessions to
make sure you’re building a strong foundation for future development. Our muscles are like
machines and they feed back what you put into them. If you’re putting in sloppy and careless
motions, that’s what you’ll get in return!

Eternal thanks for spending time with this book; I hope you’ve gotten a lot of inspiration
from it and I can’t wait to see what you all come up with!

75 Progressive Thump
Credits
T
his book would not be possible without the work and inspiration from a lot of people!
First off I'd like to give a huge thanks to Terry Branam for putting this book together.
His beautiful layout and cover were incredibly inspiring to me and it made this book into
something really special. I'd also like to thank Vincent Grundke for taking the vast majority of
the pictures you've seen in this book. He's an amazing photographer with a real eye for getting
a great shot along with being super easy to work with.

Finally, I want to thank all of the incredible artists and musicians that have inspired me along
the path of exploring this technique and to all of the people that have helped me throughout
my career and development: Larry Graham, Victor Wooten, Evan Brewer, Dominique di Piazza,
Matthew Garrison, Gary Willis, Jeroen Paul Thesseling, Jeff Reed, Maurice Arenas, Max
Phelps, Matthew Rossa, Matt Clise, Charlie Eron, Ron Kachnic, Danny Nelson, Alex Cohen,
Mike Heller, Roger Beaujard, Lille Gruber, Jacob Schmidt, Jeff Loomis, Steffen Kummerer,
Christian Münzer, Michael Keene, Brandon Giffin, Dan Mongrain, Sanjay and Noni Kumar.

Selected Discography
Exist – In Mirrors EP (2011)
Exist – Sunlight (2013)
Talking Points – Superposition (2016)
Talking Points – Leonard (2016)
Exist – So True, So Bound (2017, Prosthetic Records)
Michaels, Weber, Kuhl – Before We Speak (2017)
Alex Weber – Wandering Through (2018)
Charlie Eron Quartet – Thanks To Give (2019)
We Are In Transit – Self Titled EP (2019, The Artisan Era)
Wormhole – The Weakest Among Us (2020, Lacerated Enemy Records)
Svengahli – Nightmares Of Our Own Design (2020)
Exist – Egoiista (2020 Prosthetic Records)
Austin Loman – Infinite Square Well (2021)
We Are In Transit – The End Of Noise (2022, The Artisan Era)

Progressive Thump 76
P
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