The plucking hand (I)

The one which offers that characteristic touch to our sound, apart the note choice. Generally the right hand, we’ll call it that way here, though all the following can be used as well if you’re lefty. Among all the elements involved in our sound, and it’s a long chain which includes nut materials, amp equalization, strings gauge or body wood, among all them, the way we pluck the strings is the more influent element in the overall sound. The one that allows more and faster control over it. It’s true that equalizations of both the bass and the amp affect the way we pluck the strings, at least the way we hear it. Specially dark, gloomy equalizations tend to blur that touch, make difficult, if not impossible, to perceive any difference between a way of plucking or another. Opposite to this, brilliant full-of-highs EQs tend to emphasize it. The perfect example is slap. If we cut highs and mids in the final EQ this will mean a loss of percussive nuance delivered by the right hand.

What is known as right hand technique is an bundle of different techniques that can be classified in three main groups: slap techniques, pick techniques and finger techniques. Inside each group we find different techniques as well. Electric bass, for its construction and dimensions, belongs to the family of the electric guitar, so it’s no surprise when bassists borrow fingerpicking techniques long way used by guitarrists. The best technique is always the more comfortable, the one that makes us suffer the less; the more suitable will be choosen depending on the sound we want to achieve or the complexity offered by the passage we are playing. It’s interesting to acquire several techniques. Some people only plays slap and some others never do. And the same applies to pick or fingers. But managing different techniques can be very useful and provide ideas. In this article we’ll put aside slap, pick and tapping techniques to focus on fingers. To avoid confussion, we’ll number the right hand fingers as the left ones, it means, 1 for index, 2 for middle, 3 for ring and 4 for little, adding 0 (zero) for the thumb.

When the executor prefers to work alone

First technique we’ll see is the one concerning the thumb. The one which consists on plucking the strings with the thumb downstroke, not the double thumb used in slap. As incredible as it can sound, several great bassplayers of the soul era build their entire careers using only the thumb. This explains some vintage Fenders accessory placed between first string and volume knobs, very useful to put the four right hand fingers below and use the thumb comfortably. Thumb technique doesn’t need much explanation, after playing some scales you get the idea. Is, by far, the strongest way of plucking with fingers. Used in combination with palm-muting (slightly dampening strings with the hand palm near the bridge) it can deliver very upright-close tone. The only problem is thumb doesn’t allow much speed. Sometimes we can use the reverse side, the nail, which produces a picky sound, to strum a chord from bottom to top. After the thumb, and we’re still using only one finger, comes the index technique. Again, it may sound excentric, but James Jamerson barely used another finger. Thus his nickname, “the hook”. With that hook was enough. It’s a percussive way not as strong as the thumb, but very reliable. Doesn’t allow much speed too, but you can also use the nail side to strum chords, getting a more-middle-than-low sound.

The executor teaming up with others

1) Index + middle

Is the most common way of plucking for bassists. It consists on alternate both fingers, generally resting the thumb over the pickup or over the bass body itself. It can also be placed over the string inmmediately above the one we are playing, to avoid undesired notes to sound. This pair allows more speed than only one finger. You can use it to slightly snap (near but not slap) two note chords formed in adjacent strings. To get finger independence, practice with triplets. Or starting a phrase with a different finger each time, as shown on second and third fingerings of Ex.1. This exercise is designed to be played with the three techniques seen above. First, only with the thumb (0), then switch to index (1), then switch to index and middle (1+2). All this without stopping, so we practice switching techniques. What we don’t want is to get mixed up over the stage.

2) Index + middle + ring

A step further over last technique. It allows increasing speed, so it’s the favourite for metal players. Long time used by Steve Harris (Iron Maiden), though when playing triples he uses only index and middle.

3) Index + middle + ring + little

Another step. And still we can go further adding the thumb and using all five fingers, as Abraham Laboriel does. Only recommended if the little finger plucks with the same strenght as the rest, if difference is nonexistent, because this could produce a non-desired accent in the middle of a phrase. If we are not able to master this, we better focus on three fingers for a while. Too much ammunition can sink the ship. You can practice three and four finger techniques with Ex.2.

Next article we’ll talk more about three and four finger techniques, other right hand techniques and other thumb approaches. Remember that whatever the technique you choose, it will be completely effective when you internalize it. Which means: when you don’t have to think on using it, but automatically you use it in the right momment. And all this ends up meaning practice.