Percussive Fingerstyle On Acoustic Bass | Dmitry Lisenko | Skillshare
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Percussive Fingerstyle On Acoustic Bass

teacher avatar Dmitry Lisenko, Bass Player

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Course Trailer

      1:29

    • 2.

      Introduction

      2:26

    • 3.

      Overview : Muted Strings Hits

      0:16

    • 4.

      Performance : Muted String Hits

      0:17

    • 5.

      Breakdown : Muted Strings Hits

      1:40

    • 6.

      Overview : Note & String Stroke

      0:06

    • 7.

      Performance : Note & String Stroke

      0:10

    • 8.

      Breakdown : Note & String Stroke

      2:15

    • 9.

      Overview : Different String Strokes

      0:06

    • 10.

      Performance : Different String Strokes

      0:10

    • 11.

      Breakdown : Different String Strokes

      2:10

    • 12.

      Percussion

      0:34

    • 13.

      Percussive elements

      2:29

    • 14.

      Percussive notation

      0:28

    • 15.

      Overview : Kick & Snare

      0:05

    • 16.

      Performance : Kick & Snare

      0:09

    • 17.

      Breakdown : Kick & Snare

      2:00

    • 18.

      Overview : Kick Snare & Hi Hat

      0:11

    • 19.

      Performance : Kick Snare & Hi Hat

      0:12

    • 20.

      Breakdown : Kick Snare & Hi hat

      3:36

    • 21.

      Overview : Tom Tom

      0:07

    • 22.

      Performance : Tom Tom

      0:13

    • 23.

      Breakdown : Tom Tom

      2:14

    • 24.

      Percussive Slap

      1:04

    • 25.

      Explanation : Kick & Slap

      0:38

    • 26.

      Overview : Kick & Slap

      0:05

    • 27.

      Performance : Kick & Slap

      0:09

    • 28.

      Breakdown : Kick & Slap

      2:21

    • 29.

      Explanation : Percussive Pop

      1:50

    • 30.

      Overview : Pop & Snare

      0:04

    • 31.

      Performance : Pop & Snare

      0:09

    • 32.

      Breakdown : Pop & Snare

      1:36

    • 33.

      Overview : Slap & Pop

      0:07

    • 34.

      Performance : Slap & Pop

      0:11

    • 35.

      Breakdown : Slap & Pop

      2:40

    • 36.

      Explanation : Slap Hi Hat

      0:31

    • 37.

      Overview : Slap Hi Hat

      0:07

    • 38.

      Performance : Slap Hi Hat

      0:10

    • 39.

      Breakdown : Slap Hi Hat

      2:03

    • 40.

      Explanation : Left Hand Hi Hat

      1:15

    • 41.

      Overview : Left Hand Hi Hat

      0:05

    • 42.

      Performance : Left Hand Hi Hat

      0:08

    • 43.

      Breakdown : Left Hand Hi Hat

      0:57

    • 44.

      Introduction : Chords & Intervals

      0:42

    • 45.

      Explanation : Intervals

      1:16

    • 46.

      Explanation : Chords

      1:21

    • 47.

      Overview : Friend Offline Intervals

      0:10

    • 48.

      Performance : Friend Offline Intervals

      0:16

    • 49.

      Breakdown : Friend Offline Intervals

      3:59

    • 50.

      Overview : Minimalism Chords

      0:08

    • 51.

      Performance : Minimalism Chords

      0:18

    • 52.

      Breakdown : Minimalism Chords

      2:39

    • 53.

      Explanation : Tapping

      1:07

    • 54.

      Overview : Left Hand Tapping Scales

      0:09

    • 55.

      Performance : Left Hand Tapping Scales

      0:24

    • 56.

      Breakdown : Left Hand Tapping Scales

      3:48

    • 57.

      Overview : Brainwashing

      0:12

    • 58.

      Performance : Brainwashing

      0:18

    • 59.

      Breakdown : Brainwashing

      3:20

    • 60.

      Overview : Soul Ache Tapping

      0:13

    • 61.

      Performance : Soul Ache Tapping

      0:28

    • 62.

      Breakdown : Soul Ache Tapping

      4:06

    • 63.

      Overview : Minimalism Tapping

      0:09

    • 64.

      Performance : Minimalism Tapping

      0:16

    • 65.

      Breakdown : Minimalism Tapping

      3:59

    • 66.

      Introduction : Harmonics

      1:17

    • 67.

      Overview : Harmonics & Bass Part

      0:09

    • 68.

      Performance : Harmonics & Bass Part

      0:19

    • 69.

      Breakdown : Harmonics & Bass Part

      2:50

    • 70.

      Tap Harmonics Explanation

      1:18

    • 71.

      Overview : Soul Eich Harmonics

      0:08

    • 72.

      Performance : Soul Eich Harmonics

      0:29

    • 73.

      Breakdown : Soul Eich Harmonics

      1:40

    • 74.

      Overview : Flat Earth Harmonics

      0:06

    • 75.

      Performance : Flat Earth Harmonics

      0:19

    • 76.

      Breakdown : Flat Earth Harmonics

      2:41

    • 77.

      Final Section

      0:14

    • 78.

      Overview : Harmonics, Bass, Beat

      0:13

    • 79.

      Performance : Harmonics, Bass, Beat

      0:20

    • 80.

      Breakdown : Harmonics, Bass, Beat

      2:15

    • 81.

      Overview : Friend Offline

      0:05

    • 82.

      Performance : Friend Offline

      0:17

    • 83.

      Breakdown : Friend Offline

      2:34

    • 84.

      Overview : Flat Earth

      0:09

    • 85.

      Performance : Flat Earth

      0:17

    • 86.

      Breakdown : Flat earth

      2:20

    • 87.

      Overview : Minimalism

      0:19

    • 88.

      Performance : Minimalism

      0:14

    • 89.

      Breakdown : Minimalism

      2:10

    • 90.

      Course Conclusion

      1:16

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About This Class

This course is an introduction to the world of percussive bass guitar!

By understanding the core concept you will be able to replace whole rhythm section in acoustic concerts, acting as a bass player and drummer at the same time.

Never seen percussive bass performance?

Check out this video !

Also its an incredible way of exploring your bass at home, for solo playing, cover songs arrangements and just for the joy of playing! It's open a whole new dimension in you composition thinking and rhythm section understanding

All exercises and information given here is to demonstrate most common approaches and techniques used in percussive style. It’s a first step in discovering rhythm section abilities for bass players. This video course will be beneficial for musicians of any level , starting from complete beginners to most advanced players.

You will need acoustic bass to fully benefit from the course, but also many techniques and tips can be applied on to electric bass. I am sure after watching few videos you will want to get an acoustic bass for yourself. At the moment of creating this video, such course is a first of it’s kind for bass players.

You have found very unique school with a fresh and innovative approach.

Welcome to he world of percussive bass !

If you want to learn more about me visit my web page : www.dmitrylisenko.com

Meet Your Teacher

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Dmitry Lisenko

Bass Player

Teacher

Hello, I'm Dmitry Lisenko. Bass player from Latvia.

See full profile

Level: Beginner

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Transcripts

1. Course Trailer: Hello. I'm the mitral s ankle, and I'm going introduce you to my new course on progressive acoustic bass. Such course is the first of its kind and therefore is quite unique. So let's have a look. What's inside First we'll start was muted string strokes, very well known technique. Off playing that percussion, we will learn how to give in to drum sounds on our Christine basis. Gossip Slap salsa left blank, Long held to play Slap Together was a peak on 12 together. Quick introduction to courts and intervals left and right hand stepping. That's very essential playing for Gaza finger style. Also, we'll explore some tricks and finding brawla to use harmonics and finally, at the end will come by and all elements together in the fully sounding celery. Although the course is family and for acoustic bass players, it also will be beneficial for those a few who form the electric bass. Many of the examples and exercise can be applied to do electric instruments, so let's start 2. Introduction: progressive base. It's a technique when you play rhythm and a melody or the bass part at the same time. By hitting the whole body of the instrument acoustic bass, we can imitate the sound off the precaution drums. Therefore, we can create full sounding compositions on one instrument. A strong is your base is acoustic. Any model can fit. Now we have four string five strings, six string acoustic basis. Also Fred Less and threaded and left hand. The choices are in normals. The General Earl Ihsaa. The bigger the body off the base, the lower the sound you can get, and it's especially important for the kick drum. It will be using a lot of courts and intervals, so it's really good if you know them. Or if you don't take your time and explore left can tipping. You have to think about left and right hands. It's a two different instrument. Left hand will often play just a malady, so it's kind of bass player and right can't quite often will play the rhythm. So is the drama. Try to lower your string action as low as possible. That will helps you to play stepping on acoustic bass How to do it? You have to take off the saddle off the acoustic bass and just send it with sandpaper. I would say acoustic basis. Really comfortable for practicing. Get home. You don't need to block it anywhere you don't need. Um, so Bram. So whatever, um, you just take it and you can practice straight away. Also, of course, it's perfect for progressive finger style and for requesting geeks Inaugural Ferguson Finger style consists of many different type of techniques, like Slap that being harmonics. Courts come around full of precautions and so on. So it's really good to know. And, ah, master each of this technique separately. We just want half a timeto cover all these topics in one school. I highly suggest you, Teoh, explore them on your own and master them because percussive finger style includes all of them and, uh, the more freely and on advanced level, you will be able to play them. They're more easily and more creative. Your percussive figures, Talebi 3. Overview : Muted Strings Hits: Mutis trinkets is the first step into a rhythm and a melody. And it's why the non technique? I'm sure a lot of you already have been using it. They're only two main concept as a replay string shit together was annulled or in between the notes. 4. Performance : Muted String Hits: 5. Breakdown : Muted Strings Hits: At first we have to learn the bass part. It's really easy. And it's based on 50. So start with, ah, uh, no to see It's 1/3 Fred on a string and take fifth. Fret on the thing. I go on to third, Fred on the string 50 on a force on E 60 on a and first on E and third on a And now, slowly the part dissolve the string strokes. Yeah, And now we move on to the right. Fans and right hand were gonna do string strokes and actually is just slap or heat onto all muted strings like that you put your bomb on. Was the fingers just touching the muted strings? You don't need to raise your hands like that too high. I don't need to get this kind of complicit. Just simple hit. And now what we're gonna do after each note with a left hand where you're doing string stroke with the right hand? Yeah, So you've done one note and then your finger is already here. Just raised to your fingers a little bit into the slip. Just a soft kid 6. Overview : Note & String Stroke: the next exercise, we're gonna play note and the string stroke at the same time. 7. Performance : Note & String Stroke: 8. Breakdown : Note & String Stroke: we're starting from the bass part again. It's easy and it's based on fifth. So let's look on our left hand. Third, Fred on a fief Don t than third on D 50 g, then third on E and 50 on a last note. Third, Fred on again and it's still known. So let's play slowly. Was all the string strokes? Yeah, it's quiet season, and now what we're gonna do is to play string stroke and the note at the same time. Very good way of practice. Just to take one note. Let's 1/3 fret on a string and just to try to slap it. And at the same time you're kind of touching the muted strings. It's perform like a simple, ah string stroke, but at the where and when you're touching the strings, you're pulling your finger and you've got denote. So, yeah, pay attention to the right hand and try to award any delays you might have between the knowledge and the stroke. Really good way to practice it just to take want clean out. And then the second note was a stroke. Yeah, like that. Also, try to keep good balance between the note and the stroke Don't make stroke so loud. So the denial disappeared. And now we are going back to our exercise, and we're gonna play it in the slow temple together. Note with the string strokes. 9. Overview : Different String Strokes: now we're gonna mix both string stroke approaches into one reef. 10. Performance : Different String Strokes: 11. Breakdown : Different String Strokes: that's usually what Starting from the bass part itself. So it's again. Third fret on. Hey, string, then 50 on Z, then force on the third on the and then third and fifth on a That's it. And instead of the string strokes a two first, we're gonna play. Rest, rest, rest, rest, rest. Try to get this group. And now we're gonna add string strokes There. There are two of them in between the notes and together with an old So ah, at first we will adjust those who are in between the notes. Yeah, it's quite easy. Instead of the rest. Now we're playing string stroke and the last step would be to out string strokes together with a note. Yeah, So the string stroke in the note ihsaa on the fifth fret on the So it played First note clean and then we double it with a stroke. In the very last note, it's ah, feud. Fret on e also performed. Also performed was a string stroke. So now we're gonna play in the normal temple. Don't rush award delays and keep the right balance 12. Percussion: by hitting the body off on acoustic bass, we can emit a drum kit, and we need on the kick snare and hi heads. This is the Freeman Elements, which provide all the drum, all the basic drum sound. Also, it's an extra we can use sometimes domes or any extra heats or sounds. There are a lot of ways we can achieve these sounds. We don't have any strict rules. Also, each bass guitar it's a bit different. So try to find their own ways in places where to heat the body and imitate percussive sounds. Don't afraid to experiment. 13. Percussive elements: the kick. We're using the hell off our right hand and we're hit with the mother at force onto the body of guitar. So basically, there are two main areas on the body where we can heat. Either way, he'd here in this lower area like that or a kid here in upper It depends of what we're gonna play next. And if we're gonna need to use our right hand Ah, on the strings are not there. There are a lot of options and places where you can perform it usually should the body with your middle finger or your index finger and there are a lot of options says that said the 1st 1 is just by hitting the strings that's makes the snare sound. The second is the to hit below the strings. In this area like that, that's also pretty decent snare sound. The third option will bay, combining to combine these two techniques so it's string kit and also the the body heat. And it's it's great cannon for really short sound on the scenario. So it's more edgy and one more option, which I use quite often ihsaa lower snare or under the bodies there and performed here in this era. A lot of guitarists also played here or here I found Sounds is very hollow, so I never played there. I'm using this area, but it's up to if you want to use it or not, Then the next element is sky Kids, and they're also quite a lot of options off to imitates the sound off a high head on acoustic bass. The first honest is a thump and slapped with it onto muted juice. Drink like that Simple slap second option is too strong with your middle finger, blank up strokes and down strokes on the muted strings. And the third option is to use your left hand the same way you do know slap technic like classical slab technique like that that's also imitates hike. It sounds, uh, and also TomTom's or ah, let's say any extra heats just taps on the body off your base. We can look on them as a TomTom's 14. Percussive notation: were you a separate line for Percocet Imitation? And actually it's taken from dramatization. So usually you will see two lines in the basic laugh wishes on top and the dramatization in the bottom. So unaware both of land you will see the kick just above the middle is snare. Hi, heads are above the top line and market was X, and Tom's or any other extra has displayed just below the top line. 15. Overview : Kick & Snare: we will start with a simple drumbeat Onley kick and under the body snare. 16. Performance : Kick & Snare: 17. Breakdown : Kick & Snare: we're using lower Kik and keep You can't relax. Don't stiff issue ahead. Feeling off a free falling hand. So what you're going to do is to raise your arm and let it fall again. You're crazy on and let it fall like a free falling. Don't put any force on it. Yeah, You have to keep your hands in. Relax, minor all the time. And you do the hit. Was this part off your arm is the heel of your arm we're using under the body. Snare. Personal. I hit it was the middle finger. Yeah, that's a simple huge. Be careful. On some basis, there are sharp edges. You can hurt their fingers a little bit, but you need to find the right position. So try to move your hand a little bit lower and yeah, now we're gonna play this two elements together. Gig and snare, kick, snare, big slider. I think it's now a word and unwanted movements. The less movements you make the foster and easier you will be able to play. And it's important to practice. Rhythms was mentally you starting with this little temple and speed up a little bit. So let's play the whole rhythm slowly. Yeah, it's all the time, kick and snare and on the other, very ending. There's two kicks, which I'm sure will be fine for him. 18. Overview : Kick Snare & Hi Hat: Now we're gonna play the same beat, but we will. At one more element, it's Hackett and we're gonna play up and down stroke jackets and also will use different keep this time. 19. Performance : Kick Snare & Hi Hat: 20. Breakdown : Kick Snare & Hi hat: in this exercise where using old three drum elements geeks, Narron, high heads and the kick this time we're using up working and it's performed a little bit different because we don't have this large. Sample it to get the distant sound, we have to do slightly different movement. It's like you are boosting, accelerating your motorbike. The movements like that. Let's try it again slowly. Yeah, then for ah, heck, it's by using up and down strokes. So it's the same as a guitar technique, which they're using for started playing. So it was our fingernails. We're just kind of strumming all the strings. It's, ah, a little bit like a flamenco technique up. And then when we go back reading upstroke So this is down. This is up Upstroke could be a little bit card at first because we can do it with our nails . It was our fingers, which is which are softer, and the sound is not so edgy, so you have to put a little bit more force into it, but you will get it. And also we're using different snare this time. Just the hit with our middle finger into this part off your base. So again, um, think about the movement. Don't, uh, Don't let your hand to fly around. Let's start slowly. The 1st 1 with their kick first movement and our mothers down it. Our finger fingernails are here, and we can just unleashed them and make this sound. Yeah. So 12 12 Then we do a snare. So again, after we performed Hackett our fingers, this already here. So all we have to do is just toe put them down with a little bit force. Yeah. So let's try this. Free parts together 12 free, free. And then in the end, when May have bled the snare basically just sliding Go a finger on top Like that There. Like it there. Throw four elements. 12341234 Yeah, I forgot to tell about the left. Can't It should always stay on the neck and ah, mute all the strings. Okay, Now we'll try to play it slowly. Yeah, And then there are two kicks. Yeah, it's and we avoid the down stroke Hackett. And just like that, 21. Overview : Tom Tom: one or exercise to show you how TomTom's sound, and also this time we will use another snare. 22. Performance : Tom Tom: 23. Breakdown : Tom Tom: here is important to keep your hand in position. Don't let your arm to fly around like that, like crazy. You have to think about how to minimize any movements, and here we're gonna use the rim shots in there. So that's Ah, the tip of your finger. You attaching the deck of the body here. And I would say the first filing was displays here attaching the strings. You've got to sounds in one. I just get really sharpened injuries now for TomTom's were using or thumb. It's it's kind of the same as a slap technique. Just get this kit in our third finger, this one, or you can use middle finger if you want in the middle finger. And it's good thing to learn toe to make this drill like that. This kind of sound of TomTom's. So I get. Let's look what we've got here. Start with the kick, then with 1/3 finger where during term time on straight a hit it was our thump 12 free. Then we do again kick and then sinner. Yeah, the last time we played. There are a few extra symptoms, and then so let's play, uh, the whole exercise. Slowly 24. Percussive Slap : slept. Technique is very popular style of blanking base, and there are a lot of grad schools and lessons available online on them. I will show you how to you slap on the specific village in breakouts, a finger style and was different there on a really suggested to alarm this technique additional. So, in short, there are two man things slapping Pope the Champ Utes like that usually cult slap. And this drink block was our index or me. The finger finger gold Bob on. There are two ways I hope to play there upper technique. When you can positions here and lower technique and in depends how low is your base position. I want to show you all know how to you slap a bump in relation to Gaza finger style. I have suggested to learn this technique additional on your own. 25. Explanation : Kick & Slap: were common approach of playing is to play, kick and slap at the same time. It's like in the real life in your player was Ah, Riel drummer when the drummer play kick, usually with the best player splayed the lowest. Now it's already were slapping together with a kick so the same in Ferguson finger style. But here we are using our full hand to get the kick sound on the slap. It's falling like that and as usual, you kept award deal s and you have to keep good balance between Slap and the kick. 26. Overview : Kick & Slap: Now we'll play a small reef using slap and kick approach. 27. Performance : Kick & Slap: 28. Breakdown : Kick & Slap: here we are practicing kick and slap technique. Let's see what our left hand is doing. So it starts with the fifth fret on E. Then seventh on a 15 a third on a then 50 on E third on the E again, fifth and third on a Let's play it slowly, you can play short notes like stick out the technique Now, uh, let's look at the right hand in a standard technique you would rotate your wrist on, get this sound this kind of slap sound. But here we have to do the kick as well. And therefore we just playing like that. So basically, it's like a falling falling on the slab. Yeah, try to get this sound when you okay. Was that we're adding kick, kick drum like that. Eso was your thumb? Your heating The note on was the heel of your hand shielding. Uh, okay, on the string gets a bit easier than on a Let's try to do today. So to play it on there, you have to mute old rest strengths. Zero. It's a index finger on your left hand and especially Eastern, you have to mute it, it kept admits, Really good with the index finger. So in this way you can perform, slap and kick at the same time. Let's take a look at the Ah whole reef and we'll try to play it slowly. 29. Explanation : Percussive Pop : we can placed under Pope in many situations is just blacking strength with your index finger or middle finger like that. And percussive finger style became was idea to play pop and stare at the same time like we usually do when we play with a drama. Would tend to play slept when the drummer kick, play, kick and take Pope when the drummer plays snare. So something similar, uh, we will be doing in progressive fingers down basically is just a string strong. We're striving. Denote, uh, was our fingernails like that. We can take any note. Let's say it's seven Fred on G String and we have to meet all the rest strings. It was arrived handle residual left and just the things kind of movement and a same time that that's the kind of pope and at the same time, we're gonna perform, snare and snare were doing was the hell off our hands was this part? It's just touching. Basically, we will be touching the lower to lower strings so together it will sounds like that. Do you have to also practice it on a string on the string? You can also try it on e but the S and the same started the slap technique usually replace slept on E and A and pop on the industry. 30. Overview : Pop & Snare: now we're blade exercise on both ends there. 31. Performance : Pop & Snare: Oh, oh! 32. Breakdown : Pop & Snare: we'll start with our left hands as usually. So it's Ah, fifth Fred on the San Fred on the second fret on G 975 g. Then we go back into D 75 That's it. But first, we're gonna play it just with the bumps. Unless there was slowly together, you can put your thumb here on the a string. So at the same time, it's muting the string and play pop. Now, now, you kept the memorize the part itself really good. So you don't think about left hand and you can concentrate on your right hand. Now we're gonna play the same, but this time we'll add snare to it like that. You can you can start to practice just just with one note more. Yeah. Okay, let's play slowly. Uh, remember to meals all the strengths with your left hand. And it was the right hand and it made my feels a bit strange at first. But keep going to you will get used to it 33. Overview : Slap & Pop : and the next example we're gonna play, slap and book together. In one brief, we'll see how it works together. 34. Performance : Slap & Pop: 35. Breakdown : Slap & Pop: Let's start from the base part. So starting from fifth fret on a string, then a play active, which is 77 Fred on the then you go back until 55 on a and then we do, uh, Cameron from 50 toe seven Fred Hammer on this technique, widely used and known, especially forget the reason about the ulcer base players can use it. So they say you take one. Don't was the first finger his index finger and was your third finger. You're hammering the note only with your left hand, so you take first nose was both kinds. On second known only was the left hand. In this case, the sounds really smooth, and you can also play really fast and total help us a technique called, uh, pull off. You take one note on Ben, you pulling off. So again, the first known to take was to Hands and and second note just pulling off your finger and make the sound. Let's have a look at the whole right hand the drum part. So the drum part, it's really simple. You just gig, and so there big. It's in there big there and in notation, you will see there's a snare and hi heads. It's together on one lance of this mean you have to play them at once. So now let's try to play it slowly together. At first the girls slept. It was, Ah, kick like that and then we play. Snare Start together was a Pope one. So then go again. Slap to get a basic EQ on. Be careful here. The second time we're doing calmly Slap was all the kick. So it's you can bet rotating movement there. And after we play a pope and snare and hammer own like that, let's play it slowly. 36. Explanation : Slap Hi Hat: slept rackets is one of the variations on how to perform or imitate high heads. And, ah, it's actually just the standard slap technique we usually use on the DJ String. So left can't mute all the strings, or at least just G string on this Liping. Millions like that, and it's really it's kind of emitted, closed, high head. It's get really, really close the narrow sound. 37. Overview : Slap Hi Hat: and the next exercise, we're gonna play the beat we already know, but this time really is different pockets. It's like I it's 38. Performance : Slap Hi Hat: 39. Breakdown : Slap Hi Hat: We already have played this beat, so you know it. And this time it's just different. Heads here is very important not to movie off, hand around. Don't let it fly all around. All the movement should be minimized and compact. So let's have a look. We'll start with the gig like that. That's our lower gig. And then after the kick straight away, we perform high head. So you see, uh, when you performed, uh, gig the time it's already here you just ah, slapping the immune to string. Yeah, so it's 12 and then the next one to go snare after the head black under the bodies there. So free elements one Teoh free. And then at the end, we're adding one more high head. 12341234 and and the and we have two kicks, so it's a big difference. There's to kick, kick, kick and then snare and then Hackett. So let's try to play in the whole reef. Important to keep your hands relaxed. Don't stupid. It's always should should have smooths and easy moves. And don't let your hands fly around. Don't play like that. This way you will be tired so fast, and also you won't be able to play on Ah, decent speed 40. Explanation : Left Hand Hi Hat: left hand. Kike, it's is the same using technique we're using in a slap in the standard Slept. So for those of you who are already known and can perform slapped technique, you know that this technique is really essential. So what you do you was only our fingers on the left hand. You just slapping oldest drinks like that. So usually you can you can do it was all four fingers and this way will get loud, Andrea sharp sound, which sometimes is good and sometimes you needed. But I found more often you need more softer and narrow sound. So I prefer Teoh make this high head on the was a free fingers like that. So the index fingers muting all the strings and while standing there you raise up three fingers and perform here is important. So what? Any notes or harmonics? So you have to find the right sport to do it. Sometimes when you get it, it will hit some harmonics, so be careful 41. Overview : Left Hand Hi Hat: Now we will practice left hand high hats, playing short meat. 42. Performance : Left Hand Hi Hat: 43. Breakdown : Left Hand Hi Hat: We'll start with a kick. It's a lower kick. So the movement we already know and then goes back it's Yeah. Just remember, everything should be muted all the time when you played for gossip fingers down. Then we play two kicks and to take it. So one kick. One high head tour kicks through her head quite easy. Here's important toe. Learn this technique, which may may take some time, and it's usually at first. You'll feel that your fingers all week and don't get enough sound, but it was a practice year old. He will get it. 44. Introduction : Chords & Intervals: although courts and intervals it's more associated with the guitar, we can play them, too, and it's max years difference in sound. It's a It's a very big topic, and I really suggest you to learn tradition. If you don't know it yet, I will just briefly describe you. So just imagine, either would play one note or replay free. Now together, you hear that sound this much fuller, and therefore, when we perform it alone, it's very important for us to get this much sound. It's possible. So the courts, that's one of the things we have to muster. 45. Explanation : Intervals: intervals. It's a distance from one note to another. Let's say we take the first note, take the second so their central from I'm going to another so we can count it the other by major scale or minor scale. So let's say we go by the major. So it's first not 2nd 3rd 4th and fifth. So by playing this two notes together, we know that this this is 15 through all. Well, let's say existing ALS wake up the girl by minor scale to count it. So let's start with minor scale Teoh 34567 So this Inderal, it's minor sound. By playing intervals together, we can get much more fuller sound and usually replay if you want to play them together on the lower note we take with all the time and the Carter was index or middle finger, so I would say it's active. It sounds much more fuller 46. Explanation : Chords: Now, of course, it's when we play at least free knows together or one by one. And, uh, usually on base, we play the court. It was all the fifth Inter all. So let's say this is the full court. Ah, a major. Yes, you would normally play on the question guitar or I like to get there. Yeah, like that on because its best and its lower register usually the 15 to a Roth sounds of adult. So let's say, if I've got this full court and now we're taking off our 15 3 well, there's no we get much more cleaner, sound and special, important in lower register in high register, we can play the full course. Everyone sounds OK, but it's smaller. Pliable Teoh, lower register. There are many quarts and which you can play on the base, but there's a huge topic. You have to explore it on my own. So for Berkus a finger style quite often we have to play into roles with our left hand on the left hand and courts usually replay. It was in the right hand 47. Overview : Friend Offline Intervals: the next exercise, we're gonna practice intervals together was a kick. And this is the worst from my dual garment free gold friend off line. 48. Performance : Friend Offline Intervals: 49. Breakdown : Friend Offline Intervals: Let's look at the enthralls. The 1st 1 we've got. It's actually fifth Inderal. So it's seven Fred on a string and fourth Fred on G is the same as fifth year. The same note. The difference is it sounds much more cleaner and brighter. That's why I prefer to use the shape. This weighs more dull. Okay, so that's the first interval. Goto on two. Major seven. It's Ah, third fret on a string and force on Ji. Yeah, and then we go on. So next Central, its fifth fret on E. On six. Dungy, this is actually measure third. So if we transport this now one octave lower, it will be this. Now that's makes measure certain. Just the 3rd 1 octave higher. The next court. It's major seven, and it's a threat on a and ninth on Ji. Then we go back onto 15 men. There's just a few Fred on third on a then this. This central is a major fixed. Its fourth fret on a and third fret on G, and then just third fret again. So let's play it slowly, just intervals and in the right hand, as I described before the lowest lover no to take with the thumb and higher note was your index. Now let's have a look at the kick. It's a simple cake. Yes, we usedto play before upper kick, but this Sammer's have to do. It was interval, and there's the tricky part because our peak have to be kind of part and sharp. But intervals should be soft, so let's try to take. The first interval is the fifth, and performance together was a kick. So remember your fingers should have this South Dutch and the heel of your arms should have cars hit this. How it works. It's It takes time to get used to this and keep the good balance. Just keep practicing and, yeah, just remember, don't don't play like that. Well, sometimes maybe you needed, but not for this piece. Let's Ah, let's hope stuff together. The last note. I usually well like that dramatic oh, ending about this optional. So after the second time, you perform 15 3 Well, there's one note. Fifth fret. We're just playing with time. And when we're here on third Fred on a, we'll also play in the same manner kick and one note, like like we usually do was intervals 50. Overview : Minimalism Chords: Now I'm gonna show you healthy courts in compositions. And this is peace for my solo album called Minimalism. 51. Performance : Minimalism Chords: 52. Breakdown : Minimalism Chords: Let's look at the court. The 1st 1 is the measure of seven like that. So the middle fingers on 17th fret on a index fingers on 16 un de and the third finger isn't 1800 and on using standard getter blocking technique. That's mean they'll over note were taken with the Tom than the second note was index finger and third note with our 30 s or middle finger like that, we're just blacking old phrase strings together at one time, and then we move on to the second court. It's F sharp, minor. Seven. So fingers are on 14th. Fret, and it's e D N Giese Drink on were blocking in the same manner. Then we go on to the B seven, so it's Ah, our middle finger on 14th. Fret Index Finger 13 on D and third Finger 14 on G In the Last court is a seven. So index finger on 12 Fred his drink middle finger. It's still Fred D and third Finger. 13 Fred on Ji. Let's play them slowly without the kick for him. So if the course is something new for you, keep practicing them. Try to find some books or other video schools to improve it, but it will go no onto the kick. So now we're performing the same as we've done with interest. Still the same loser courts sharp geek about smooth and soft course. Yeah, and I always tried to play them slowly together was a kick. 53. Explanation : Tapping: stepping, I would say, is the one of the most important topics in because a finger sound. I'm not talking about super far stepping like guitarist love to do it. It's manly left hand typing. It's a bit more harder to perform it on acoustic bass than on electric because of the string contention and, um, the nature of the instrument. So travel over your action is low. It's possible that will help you a lot, Don't you better result, and also to play faster and easier. Right now, you have to learn to play everything with your left hand. Ah, like the party or the reefs, you know, or used to play before a normal way, Mr Hands. Now we have to learn to play them on the with the left hand. And that's the trick, because after after a while, you'll be thinking like about their hands, like a two different instruments. Usually it was the left hand would play bass part or the melodies, and with the right hand is the rhythm. So drama and the bass player 54. Overview : Left Hand Tapping Scales: we'll start left hand typing with the scales. I will show you how to play. See Measure and the minor using only left hand. 55. Performance : Left Hand Tapping Scales: uh 56. Breakdown : Left Hand Tapping Scales: First of all, if you're not familiar with the scales, you have to learn them. Let's start with stars. Was a C major 1/3 fret on 1/5 3rd on a on replay. It was our middle finger, and the small finger then was our index finger were playing second fret on the third. Fret on the and 50 Andi. Then again, index finger on second. Fret on G third finger on fourth. Fret on G and small finger on fifth. Fret. Ah, then the a minor scale fifth fret on a So it's on a string. Bilby 578 was our index thirds and small finger. Then the same on this drink. 578 and 57 on G. Now we have to learn the blade on the with the left hand. And here's the most important thing is the muting. So now we have to switch. Our attention from the notes will play. So the muting Okay, I will show you how to do it. We'll start with ah, middle finger, our first. Not at the same time. Our first finger index finger is meeting all the strings. Then take note was a small finger and with switch fingers. So now middle finger is smiting all the rest Now our index finger taken the now middle finger muting than middle finger taken. Denounce first finger painting. Small finger taking Denali middle finger muting index finger. Taking the note. Middle meeting now third finger taking the note. Middle finger muting on the same men are the small finger taking the note and middle finger meeting. Never go back on smooth switch to the index finger. I mean, the finger meeting. Small finger playing denote middle for your amusing to go back in extreme commuting on middle finger playing. The note. It's really tricky at first, but you have to learn to switch your attention from the notes onto the muting, and it's a bit off jumping. But, yeah, you will get used to it. Now let's look at the D minor. Starters are index finger, and here we have few options. Either re mute with our middle finger or was. We can mute it as well. With the tip off our index finger, eso were taken, the note and the very tip off our finger were touching the e string, so the same time it's muted then the take note with 1/3 finger and middle finger muting gold Arrest small finger The note. Middle finger meeting now Index finger taken The now it still middle finger meeting. Now we can switch. So index fingers muting. Third finger is playing the note on the small finger blanking out on now either index finger on middle finger. Then we're a Speech Inc index finger blank denote middle finger meeting on again here again . Either you stay on middle finger order on meeting or index finger ever go back. 57. Overview : Brainwashing: in the next example, I'm going to show you hell to play one of my solar compositions called Brainwashing, and there will be using life left him stepping, of course, and also the rhythm. 58. Performance : Brainwashing: 59. Breakdown : Brainwashing: it's usually we're starting with the base bar. This time we have to learn to play it on. It was the left hand, but first we're gonna look at it well, starting with the third. Fret on Eat and we play octaves, which is fifth. Fret on the Then they go into the second, uh, Fred on a then hammering on third Fred. Then fourth Fred Encumbering on fifth fret. And then we go into the third Fred and on Z and doing Cameron on the fifth. Fret. So it's and we play like that three times and on the last time I go backwards. So we start with 1/3 friend. Um e, then 50 Active third on the then 54th 3rd 2nd on a and fifth on third on. So did my course. Now let's blade. Only with left hand. It's octave, It's so clear. Then we move on to Is it a string on and our middle finger meeting did not in our index finger, omitting the note again. Index finger still meter. There are a small finger, and with our middle finger and the small finger were doing Cameron. So the index finger still meeting Yeah, and we'll go backwards. Good. This boat left hand, right, Can displaying Cruz. Simple rhythm is just the kick and snare. So lower kick and under the body snare Yeah, would look like that Take. And so there and that's it. And the on each note replay iron ore kik on snare. So let's try to play it slowly together, both hands. - You can also practice separate the last movement, but when we go back Oh! 60. Overview : Soul Ache Tapping: the next exercise will be for both kind stepping, and it's a classical way of playing taping, and we're gonna take one off my songs from my dual government free, which is called Soul Ache. 61. Performance : Soul Ache Tapping: 62. Breakdown : Soul Ache Tapping: This is more standard way of playing taping and the left hand usually play courts, and they cannot just some extra notes without right hand. And here is important to remember that we can do a lot off full taping raves and scales. And the leaks was over both hands. It's Ah, soon. If we took our board right hand on the fretboard, we can play percussion. So I found it's more useful. Just what few extra notes with our right hand and at the same time, we can keep the rhythm on our left. Fans would have these court, so it's eighth Dan and throw Fred on a the injury. String him anyway. Bled was, was all left hand. Yeah, so we played 1st 2 notes on then we're doing Pull off was a right hand with Topping 14. Fred on these drink. Want free for 300 world golf on the same 10 Fred Note. The top was our small finger. 12 Fred and and then we use two fingers and we're playing the role. It's for central doing. Slide ampoule off, so it's 14 14 own D and G slide on. Pull off. You're just pulling your fingers down. That's why Britain is this sound. So let's try the first court altogether way to the second court. 12 Fred on a 10 Fred on the intro fret on G and with it in the same sequence. So first to note, then Forts and Fred. Yes, we did before. Can Iran, then with our third finger? We're talking to a friend like that and again the same two slides from 14 to 16. Fred and pull off. Let's try to, of course, together. Then they go back onto the first card on the very end, and it's a bit different, So we play instead of the sliding we're taking just one note pulling it off. Move on to this interrupt, which is, uh, major. Third, but third inactive higher. It's 10 Fred on E and 11th fret. Angie. Just blocking. Use a simple technique we described before, so let's let's try altogether and by doing the last interval, you don't need to move your hand here until your usual position is long because our hands are already here. We just play the tapping Wake unplugged the string from this position. It's a bit uncomfortable about you have to get used to it 63. Overview : Minimalism Tapping: Now we're going to play the tune you already know. It's called minimalist, but this time we will add a few extra notes were stepping. 64. Performance : Minimalism Tapping: 65. Breakdown : Minimalism Tapping: well ready now in the courts. So let's look what extra thinks we've got here. We take the first card and it was our small finger. We're just stopping 19 Fred on this drink, so the court would take was our. It was a normal finger. Pluck looking call was a right hand and typing extra note. Then they go into the second court. The same was a small finger with tapping, uh, 16. Fred Here's again. That's all the same in third card and on the fourth courts, it's we're talking 14. Fred, Um, breakfast this for a while. Just a court. One extra note. And now we go to the second part of the reef. So we're taking the court and then wait can induce strumming the court was our nails times ending like dipping Slide from 19. Fret 21st and on at the same time. Oh, move on to the second court. Let's try again. Then there are some muting note free omitted notes up and down strokes 12 free. You can do it with finger nasa or just was the tip of your fingers you free and now the ending gets a bit tricky only the single we're taking fourth and Fred on eight and at the same time was our middle finger On the right hand. We're thinking 16 Fred and during slapped onto the 17. So it's like that. Then, er, move our finger back taking pull off and was our third finger on left. Kinds were holding 14. Fret. So after after we down, this was our putting our index finger onto the 13 threat on the and taking it with a jump and do Cameron was our small finger on the 16 Fred. So all together, once one more time that was our middle finger, were doing kind of a standard technique, taking the same two notes which already were holding its ah 14 fret on G and 16 threaten they never moving down to the last court. Yeah, the interval Swell Phone E and 13 Andrea. So let's try this part slowly. One more time on. That's about it. Let's threats blade in the slow temple 66. Introduction : Harmonics: harmonics simplified over total note. It's very high end beach, and that's why it sounds amazing together with the low registered bass notes. So let's have a little call to play them last like those of the strings. Don't press it down on, and you have to place your finger directly over the fret wire and pull this drink. You'll have this sound, but the harmonic Um, keep in mind that you have to be very precise on the fretboard and how much pressure you're . A plank with your right hand also can play two or more harmonics, creating intervals or even full courts. So the most common places off harmonics. It's 12 Fred. Ninth, 7th 5th fourth. It's a bit hard to take, but it sounds beautiful. And also, if you are like 1/3 fret, it might not work on the old basis but dried, so find it 67. Overview : Harmonics & Bass Part: the most interesting is to play harmonics together with the bass part because of the difference in the register. They sound amazing together, so let's have a look. 68. Performance : Harmonics & Bass Part: 69. Breakdown : Harmonics & Bass Part: here is important not to rush and play softly. So let's feel, Look what we've got there. We start with a low note and it's Ah, third fret on use drink. And while we're holding Inc. We have to take at the same time the harmonic on fifth Fred. So play it together was a finger black. Yeah, so I'm taking low lowest note on the index finger taking cast. So try to get good balance between in out on her money. Then after wear adding one more harmonic, its fifth fret on G string. So first it's low note and first Harmonic, which is fifth. Fret Andi and then few threat on G. Be careful not to mute the first harmonic, and also the low note should keep sounding. Civet will create this illusion. So there's the bass part and harmonic part. Then well, they keep sounding. We're moving our hand and taking seven Fred on a string. Be careful not to touch the highest drink with your left hand fingers so that there doesn't amuse harmonics. Then we move on to the fifth fret, and we take the same time fifth the threat on a string and harmonic over the fourth fret on the So get this sound It sounds really beautiful And way before we're adding one more harmonic on juice Drink fourth fret on, Just drink like that and we go on to the next court its third Fred on a and then 50 on fifth on the Engy Harmonics. So let's play it slowly. Here, um, this third fret on the a string I'm usually taking taking was are on my thumb. Yeah, just a soft touch like that Don't rush and pay attention to the low notes Make sure they're keeps sounding all the time. 70. Tap Harmonics Explanation: using your index or middle finger dry to top above the 12th. Fret like that in this way, you're playing top harmonic. It's Ah, similar like a standard taping. But this time we're trying to hit exactly on the Fred Choir and we get this carbonic sound . It works in old the same frets as their natural harmonics. So it's nice and seventh fret. Then there are also artificial harmonics to play them. We have to take one note with a left hand. It's it's Ah, fifth fret on G. We just press. It was all sound and we have to count 12 frets. So it's 17 frets and top. Exactly. They're this way. We get artificial harmonic and they're working for every Fred. So it's seven. Recount 12. Frets were 63. This way we can also play some small melodies. You can play anything you want 71. Overview : Soul Eich Harmonics: Now let's go back to the song we already know. It's so egg, and we will at few extra artificial harmonics. 72. Performance : Soul Eich Harmonics: uh 73. Breakdown : Soul Eich Harmonics: we already know how to bled. So now let's look at the artificial harmonics. Very end were holding the court with the left hand. And I think the first artificial harmonic on 17 friends like that and the second on the string and the second artificial harmonic on 15. Fred on the You can Stop it on. There was a meeting middle finger. So let's play a court. Yeah, the same goals for the second court. The same to her. Monix. Yeah, And then they ending. Kill. Ready? No. And here we're tapping. Not after that well threat, but actually, after the five, you can get artificial harmonics off the fief. Seven nines and 12 Fred, and it will be just a little bit different. Intervals were taken out on 12. Fret with our small finger and hitting after the five fret 17. And here's a swell were taken note on the 10th fret and heating or the 15th that makes five friends 74. Overview : Flat Earth Harmonics: The next base is from my composition called flat Earth, and there will be blank artificial harmonics. 75. Performance : Flat Earth Harmonics: 76. Breakdown : Flat Earth Harmonics: Let's start with the base bar, which is quite easy. So it's seven. Fred fifth Fred on a than 10 Fred on a than 10 fret on e nine, Fred on eight and against in. So it's yeah, except that we have to play it down. There was a left hand and now let's have a look at the harmonics. So the artificial harmonics, it's always the same. Here it's Ah, seven. Fred on D N. Giese drinks. We have to call them all the time. Onda. We just count. Well, frets, which makes us 19 Fred here on were top to harmonics at once, so it's dangerous. Drink like that. Let's try the first court. So we're taking. The first note was index finger and to higher notes on the injury strings with arm, middle finger and the 3rd 1 Then move on to the second and now are small. Finger should hold these two notes on seven friends. Let's try to courts. Then we move on to the third card would take low note with a small finger and our first finger have to called seventh Fret snow. Yes, so the right hand stays always the same above the 19 fret in just left hand. What's well, changing again? The third card on. Then there's this mania. Small feel was left hand, so it would take 10 Fred Harmonics harmonics and go back into the 1st 1 again on That's it , let's play it together. 77. Final Section: Congratulations. You have made it to the final section off the scores. Now we're gonna use all the knowledge we have Gant into full sounding griefs. I'm going to show you feel of them and explain hell to play them. 78. Overview : Harmonics, Bass, Beat: now is gonna be the whole band together. We just taken the reef with harmonics we just learned, and we'll add beat onto it. So we will have bass part harmonic or melody part and the 79. Performance : Harmonics, Bass, Beat: 80. Breakdown : Harmonics, Bass, Beat: So actually was one movement. Now you're making free sounds free parts, drums, bass, part and harmonic should sound like that. Uh, just right to take gently note and harmonic and but at the same time that don't lose the kick. Sound. So after the second harmonic doing snare. So like that cake. Second harmonic snare. Then we'll move on to the seventh. Fret on a on we take kick together was a note and just were taken out with a jump. And here's, Ah, small trick We're playing upper kick and then lower kick and snare. So just to move the hand so it's 12 free. Yeah, let's try it again. I want let's try slowly to this point, huh? Okay, and then we go to the next court. It's totally the same with take first base now out in the kick and then after a second harmonic with snare and we go to the last court is just one kick and took harmonics. Let's try the whole piece together 81. Overview : Friend Offline: Now we're going back to the friend off line, but this time was a full drum part. 82. Performance : Friend Offline: 83. Breakdown : Friend Offline: here we combine intervals was a drumbeat you already know Well, intervals. So let's have a look what drumbeat we have here and here. I'm starting with uppercase because I have to play the interval as well. And then I moved to the lower kick and snare after the snare, a play to terms with the Tom and middle finger. So it was a time based, basically just slipping and was that middle finger also tried to make this to Tom Toms. Let's call them totems a bit more quieter, so they are kind of an echo over deal. I sound. Yeah, think about the dynamics as well. It's very important to have a good group. Okay, lets go further. Does the first court second court to split totally the same third court as well? And then we moved on to the fourth interval where we'll play small field. Let's have a look. So there were adding two extra snares. Now we're starting again with the first integral, and then it will be a slight, slight variation with a 60 was a straight 60 notes like that, let's have a look Slowly. Performing the last note together was a kick And this fifth? No, together with the Tom. Yeah, and then the lost control. And then Santa. I'm excellent doing kind of pope. So dramatic ending. So it's sounding more sharp. Let's play the whole thing one more time. 84. Overview : Flat Earth: the next composition is flatters. And now we're gonna beat into it so there will have harmonics, bass, part and the drums. 85. Performance : Flat Earth: 86. Breakdown : Flat earth: here we come by and typing bass, part harmonics, and we'll already know the harmonics and the bass part. Let's have a look at the drums. Mainly it's, Ah, straightforward rhythm beat and just the kick drum and the snare had been to the bar. The meat itself, it's it's really easy. It's just and we do a snare, which is the rim shot snare. We're playing this part of the body, and also touching the strings does the rhythm, and at first we can try to play it together with the base without harmonica. First, you harmonics goals right after the each kick, so you don't kick harmonics and then snare. And then the same for the second court and the third. And it's a little bit different at the end. So we start. Ah, Kik together was a note, then harmonics, then snare. Then we take the note, and after the note will play the beat, the kick. So they're not together in this in this time, that's about it. So let's play it slowly 87. Overview : Minimalism: the last song we're gonna play. It's minimalist, and it's the most advanced sunk in this course. So don't worry if you are not able to play it, it's yet. Just keep practicing and you'll be, and you will be able to do it so here will be using courts tapping and the beat. 88. Performance : Minimalism: 89. Breakdown : Minimalism: by now, you should be able to play the course together with the tapping, and we will concentrate now on the beat. So let's have a look at first we have to fix. It's my favorite combination off upper and lower kick and after two kicks, one to read, tapping Delta after the tap we're doing snare and and then to TomTom's was our tamp on middle finger, then the roof onto the second court just after the top note with doing one more extra kick . The same goes for the third court and for the last one is well on the last court were doing want extra top or Tom Tom in the end was our index fingers the second part of the river. It's a bit more complex. Ah, we're playing the same as the in beginning but on there was a one time Tom, and after the tone we're doing slide and move on to the second court and we play our ending . Its replayed it before and then time, adding, like free extra geeks and snare. But it's optional and together with a slight, you don't have to do it. It's just extra field. Okay, let's Ah, try to play. The whole thing can slow Temple 90. Course Conclusion: I hope you have enjoyed our journey into percussive finger style. And now you confound many new ways and health. Approach your instrument and hold. Explore it dont afraid experiments. Your mindset should should be like old scientists have. You should always searching for something new. You know, when I were starting out, there was no one I could learn distracting from So what? I was looking for guitarists and drummers and I was taking their ideas and the the way they approached their instrument and tryto adopted to the base. And of course, it's much Carter to get fully sounding composition on base than something guitar. So I have to come up with many new and unique ideas to somehow make it happen. Um, many examples were taken from my own solo album, Minimalist and from my Door Project, Karma Free. Also, you can visit my webpage is mutually santa dot com. There you can find the other tutorials, videos, audio, another material, and also I'm offering Skype lessons. If you are really interested into learning this technique more deeper, feel free to contact me. Good luck