Right hand fingerstyle technique

[dansouth]

When you're playing fingerstyle, do you pluck the notes outward away from the body of the instrument, or do you slide your fingertips down in between the strings after picking a note?

[BillBandstand Prod.]

...It is all depending on the tone I am looking for. The tips of my right fingers are as tough as a medium pic...and sometimes sound like it (LOL). I push at about a 20 degree angle down between the strings and use my fingertips as string mutes after the attacks. Sometimes an upward twang with my fingernail on an upstrok has a nice vibe.

 

No rules...just feel the best vibe. The right Hand can play the whole neck too!

[Ben]

Almost always down. Exceptions: careful pluck upwards to avoid hitting and muting the next lower string when it is already ringing open and playing an octave-plus figure on top of the open note; chording when I sometimes use the fingernails of two or three fingers in an outwards strum to get a bright tone.

[dansouth]

I started out (and played for many years) plucking outward like a guitarist. Then I looked at Chuck Rainey's book and decided to try plucking downward between the strings. I like the sound immediately (fuller sound, stronger attack). Picking downward also puts my fingers in a better position to utilize raking. In addition, I like the muting effect on the next string, which makes it easier to use open strings. The only drawback is that sometimes I can hear a little "thud" as I come in contact with the next string. It never comes through in a mix, though. Anyone else experience this thud phenonemon?

[Chad Thorne]

I have (in my distinguished 8-month bassplaying career) heard the "thud" on occasion. As you say, it gets covered up, and it bothers me less than when my fingernail catches the string rather than the fingertip, so I get "twang" instead of "thump" ( see, I've got the technical terms down already...). I have never pulled out on strings on guitar or bass except for occasional popping for effect, I curl my fingers more or less like a classical guitarist...

 

Related question: When I attempt rapid 16th notes or triplets, using alternating fore- and middle-finger strokes, I'm finding that my control over my attack is not as good and I get a lot of tonal variation. Have others experienced this? I ask because my left hand (I play lefty) sustained some nerve damage years ago so it generally has a little deficit. So at some point I'll need to assess whether I can get that fast stuff down (my feeling is yes, though it may take a little longer) or use a pick to execute fast passages.

 

As always, I value everybody's input!

[KJ]

Chad, search out Chuck Rainey's book as Dan had referenced, it's called "The Method". In it he talks about right hand (or in your case left hand http://www.musicplayer.com/ubb/wink.gif) technique. He talks about hitting the string with your fingertip toward the body and then striking it again with your fingernail on the way back. It is a very useful way to play fast passages, and a handy tool to keep in your bag of tricks. I am unsure of the extent of your injury, but I'm sure you could develop the technique.

 

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KJ

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bari man low

[cornbread_medhotmail.com]

Just keep plugging away at it. It took me a while to play the 16th and 32nd (really slow tempos http://www.musicplayer.com/ubb/wink.gif) with any consistency. You just have to build up the muscle strength. But, do yourself a favor and only try it after you've warmed up sufficiently. Nothing hurts quite as bad as a cramp the goes from your foreare to your fingertips.

 

I also have the "thud" thing happening. Even though I pluck more parallel with the body, I still get it when I hit the next string. It disappears, though, with other instruments. I always thought this is one of the things that made up my tone.

[Ed Friedland]

I generally suggest the downward stroke where the finger rests against the adjacent lower string. You get the most volume and fullest tone this way. To balance the sound from string to string, I suggest you play more from the fingertip on the E, and increasingly more from the pad of the finger as you move across the A-D-and G strings. More meat on the string equals fuller tone. The E and A have more mass, so they need less finger to make the sound full.

 

I use the "upstroke" method when playing chords however. To get individual notes to ring clearly together, this is a must.

 

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www.edfriedland.com