My teacher told me once "Mind your alternance when you're practicing technique (and do practice technique), but don't think about it when playing songs. Just play the song and hope your technique is good." Sounded like good advice to me.
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Alternating fingers: Does it need to be perfect?
- Thread starter Hardbassjunkie
- Start date
I'm left-handed and mostly self-taught, and had a lot of trouble with even two-finger strokes. Several of my lessons, long after I'd started playing, focused on floating thumb technique, which was a complete game changer. It certainly has helped with even strokes, which is a good skill to have. In actual playing, I sometimes use one finger, sometimes use three (weirdly, my second and fourth finger sound great together on pulsing eights or sixteenths), and sometimes I'm charmed by how uneven strokes can add some expression when soloing. But I certainly aspire to being able to play evenly when I want to, and when that's what the music calls for. Which is a long-winded way of saying exactly what's expressed in Post #40, directly above!
I would bet your rock teacher makes more money and gets more gigs.
Here's what you do. PRACTICE alternating fingers. When you do scale exercises, do them slow enough to alternate fingers perfectly. Then when you play songs with people, don't think or worry about what your fingers are doing at all. Just play the song and groove with the band.
The whole point of working the fundamentals is so that you don't have to think about those little details when performing.
I’m hesitant to call anything categorically “wrong” unless you risk being injured by doing it.
That said, IMO if your volume isn’t even when playing with two or more fingers, then you’re either playing too hard (something that will favor the strongest digit) or you simply need to practice more.
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According to Scott Devine (Scott's Bass Lessons), plucking finger consistency is a must, at least when doing faster, complicated runs.
He teaches using alternate plucking (alternating fingers, as you call it) always when playing on the same string or when ascending from one string to the next higher string (e.g., going from the E to the A, the A to the D, etc.).
He teaches two options when descending from one string to the next lower string (e.g., going from the G to the D, the D to the A, etc.). The two options are: (1) Stick with alternate plucking, or (2) use "economy plucking", aka "raking". But, you must pick one or the other. He says that economy plucking is easier for most.
The point is to be consistent. I discovered that I am very inconsistent, and I'm working to correct this. It isn't easy.
He teaches using alternate plucking (alternating fingers, as you call it) always when playing on the same string or when ascending from one string to the next higher string (e.g., going from the E to the A, the A to the D, etc.).
He teaches two options when descending from one string to the next lower string (e.g., going from the G to the D, the D to the A, etc.). The two options are: (1) Stick with alternate plucking, or (2) use "economy plucking", aka "raking". But, you must pick one or the other. He says that economy plucking is easier for most.
The point is to be consistent. I discovered that I am very inconsistent, and I'm working to correct this. It isn't easy.
I don't know for sure but that is what I would bet on as well. I really like this advice. I'm not hindering anything I'm doing now but im also continuing to better my technique. Seems like a great compromise. Thank you
Economy of motion is more important than just mechanically alternating fingers, on some basslines you'll need to use the same finger twice in a row to have it to play it more fluently.
I disagree. The guys you mentioned are doing it right - they are being consistent. To "not think about your plucking fingers" will probably lead to inconsistency and a lot of roadblocks.
^This.
Technique exists to help you. So make a commitment to master a technique first. Once you can do it consistently is the time to decide if, where, and when you want to use it. The more varied the number of techniques you can draw on, the more fluid a player you’ll become. Sometimes some of the most unintuitive seeming aspects of bass technique turn out to be incredibly useful once you put in the effort to fully nail them down.
And as @two fingers pointed out, the goal of technique is to move beyond it. It’s the same thing as music theory. You don’t play music theory or play “technique.” You want to internalize it so you can draw on it on an almost subconscious level. Eventually you reach a point where you “just play” and don’t consciously think about details like fingering or muting. You just do it.
That’s the direction you want to be heading with your playing.
Or so I think anyway.
Back in 1983 (age 32) (after playing bass by ear for 14 years) I took bass lessons from a professional jazz bass player. I asked him about 100% alternate finger plucking of the index and middle finger. His response was.........."don't think about your plucking hand".
I agree.
I would say that among instructors he is probably in the minority.
If that is the case I would say you need to work on getting a more consistent sound out of both fingers - not eliminate one.
Ummp.. Your teacher would really hate me. Sometimes my plucking hand looks more like I'm playing a banjo. I use my thumb, index and middle finger when playing the intro to Sweet Emotion.
I think if you are paying a professional for advice, you should take it.
There is nothing wrong with not alternating 100% of the time - IF you are aware of it and do it purposefully. Precision is about consistency. Tape yourself and listen back. That was one of the best things I ever started doing. Most of us are unaware of how we really sound.
I understand your points of view.
I alternate with both fingers with ou any kind of problems. But there are some tunes, or some styles, or some basses, that sound better with only one finger.
Jamerson did it, for example.
When playing bossa nova, or samba with very light plucking, with just an acoustic guitar and an acoustic or semi-hollow bass, you notice.
Playing rock, with a full band, it is not noticeable.
It's the down stroke /up stroke, with a pick. It's noticeable.
Blah Blah Blah, I come from a family of classically trained musicians, doesn't mean anything if you don't enjoy what you are doing. I am self-taught and have all the flaws that come with that. I also make more in one gig than the sum total of what they have made in their lifetimes playing music. So, you can worry about some guy with a stick up his behind or you can do what makes sense to you and what makes you happy.
As a largely self taught bass abuser i can vouch for this being absolutely on point and relevant.
I can also tell you from experience how much harder it is to unlearn bad habits than it is to learn it right the first time.
Sounds like the rocker is teaching you how he does it while your classically trained guy is teaching you how anyone can do.
