right hand.doc

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RIGHT HAND (FINGER PICKING) TECHNIQUE

One of the first things I do with new students, regardless of their experience level, isto sit them down and analyze how their hands are working together on the bass. Inmany cases, the student has gone about as far as they can go given their currentapproach, because they are limited by a particular technical stumbling block. To getthem working at the next level usually only requires some fine-tuning. Over the years,I have come to recognize some common problems and solutions with respect to hand

technique, and we will address them in the articles that follow.

When working to improve hand technique, sometimes it is a good idea to focus oneach hand individually. Each hand plays a different role in playing the bass; therefore,each hand requires a unique technical approach. First, we will address right hand(picking) technique as it applies to finger style playing. In this article I will focus onsome important concepts specific to the right hand that often cause problems forbass players.Muting Methods

It is a good idea to utilize some sort of muting method to keep strings quiet that are

not being played. This topic causes a lot of problems for players, especially ones whoare making the transition from 4 string bass to a 5 or 6 string. Keeping the stringsthat aren't being played quiet is a challenge for the right hand because it is alreadypreoccupied with the actual plucking of the strings. Many players try to depend ontheir left hand exclusively for muting tasks, but this approach can be futile duringvery complex or challenging passages.

In my opinion, the use of a "moveable anchor" is one of the most versatile and leastrestrictive solutions to this challenge. Most of us who play finger style already utilizesome type of anchored approach using the thumb of the right hand. For example,

some players place their thumb on a pickup or the body of the bass while they play inorder to stabilize their right hand. (figure 1)

figure 1

Others might use a thumb rest or low string to accomplish the same task. Theconcept of a movable anchor is similar, but instead of leaving the thumb in one place,this approach allows the thumb to 'follow' the picking fingers back and forth over thewidth of the strings, acting as a mute in both directions.

An exaggerated example of this approach for 4 string bass is demonstrated in thefollowing exercise (figure 2):

figure 2


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Hand positions are illustrated in figure 3a, 3b, 3c, and 3d:

figure 3a

3b

3c


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3d

A summary of the basic approach is this: As your picking fingers move across thestrings, your thumb follows behind them, anchoring on those strings not being playedand keeping them quiet. Let me state once again, however, that the previous exerciseis an exaggerated example designed to show you the basic concept. The mostpractical applications of this concept allow the thumb to "float" across the stringsmore, as opposed to rigidly parking on each string until you move to the next one.There are several ways to implement this approach by simply changing the angle of

the thumb; you'll want to experiment to discover which method works best for you.Over the years I've come to settle on a version in which my thumb usually stays twostrings behind my picking fingers, depending on what I'm playing.Economy of Motion

Another benefit to using a movable anchor is that in addition to taking care of mutingtasks, it also maintains a consistent hand position as you move across the strings. Toexplain this another way, the actual 'openness' of your right hand remains the sameregardless of which string you are playing. You'll find that the more closed handposition used by this approach usually results in a greater comfort. Why? Try this test:Completely relax your hands and watch what your fingers do... If you're built like most

people, you'll find that they naturally curve into a more closed hand position. Itactually takes a degree of strength to hold your hands completely open. Now thinkabout how that applies to your right hand technique. With a stationary anchor, yourright hand becomes more open the farther away your picking fingers get from youranchor. (figure 4)

figure 4

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A moveable anchor promotes a more closed right hand position across all strings,since you don't have to 'reach' for the higher pitched strings.Alternation

Another approach that will help to refine your right hand technique is the use ofalternation in your picking fingers. Alternation is important because it splits up yourright hand workload amongst your picking fingers, thereby making your picking moreefficient. Regardless of whether you use two, three, four (or more!) picking fingers,


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alternation is a key concept that will help you to be more proficient. When youpractice your alternation, try to avoid "raking" as you move from higher pitchedstrings to lower. Raking is when you "brush" from the last note played on a higherstring to the first note played of the next lowest string, resulting in the same fingerbeing used to play both notes. Although raking is a useful technique, try not to use itat all when you are working exclusively on your alternation. This way you will developfull independent control over both techniques, and subsequently choose the bestmethod for the job in various performance situations.

Practicing using permutations

One great way to develop your right hand is to practice exercises that involve movingacross the strings while utilizing disciplined alternation. A very simple approach thatcan be developed further into more complex examples involves the use of left handfingering permutations. Using a one finger per fret approach in a closed position, wewill play through every combination of your left hand fingering while moving acrossthe strings in both directions. To play the notes with the right hand, we willincorporate both good alternation and our new movable anchor system. For starters,let's assign the numbers 1, 2, 3 and 4 to our index, middle, ring, and pinky fingers,respectively, so that we can reference their individual use. Here are the possible

combinations for your left hand if we use each finger only once:

1-2-3-4 2-1-3-4 3-1-2-4 4-1-2-31-2-4-3 2-1-4-3 3-1-4-2 4-1-3-21-3-2-4 2-3-1-4 3-2-1-4 4-2-1-31-3-4-2 2-3-4-1 3-2-4-1 4-2-3-11-4-2-3 2-4-1-3 3-4-1-2 4-3-1-21-4-3-2 2-4-3-1 3-4-2-1 4-3-2-1

Now place your left hand at a median location on your neck, for example, in 5th

position. (5th position is where your first finger is lined up with your 5th fret.) Nowsimply lay your left hand fingers on the neck so that you are in a one finger per fretposition. Our first permutation will be: 1-2-3-4. We've already covered how to play itin figure 1. Keep in mind that your right hand fingering needs to alternate 1-2-1-2-1-2,etc. without deviation until you complete the permutation across all strings and back.(figure 5):

figure 5

(As you move back across the strings from highest to lowest, make sure to retain thesame fingering.)The next permutation, 1-2-4-3, is illustrated in figure 6:

figure 6


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Continue until you have worked through all 24 examples. If you feel confident withthose, then try a cross string left hand position playing through the samepermutations. Your left hand would be positioned over the strings using the same onefinger per fret approach, but assigning one finger to each string, instead. Twopossibilities for left hand positioning using this approach are illustrated in figures 7and 8:

figure 7

figure 8

As you practice, it is a good idea to use some type of external clock source, like a

drum machine or metronome. Play at very slow tempos for extended periods of timeat the beginning, making sure that each note rings out fully until the next one isplayed. If you are having trouble putting both hands together at first, focus on onlyone hand at a time, paying strict attention to the problem areas. Work them out onecomponent at a time, and then slowly bring your two hands together, playing brokendown versions of each permutation and then gradually building. For example, don'ttry to play across all four strings until you can successfully and consistently play overone.

I think you'll find that the more you refine your technique, the more confident a playeryou will become. Enjoy working on these concepts, and next time we'll cover some

specifics for the left hand. Until then, keep it bassy!

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