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Fast fingers

Put your picking/plucking hand out in front of you (yes that means you reader ;))... Wiggle your index and middle finger back and forth as fast as you can (making sure your fingers and hand are relaxed). Now do the same with your fretting hand. I'm gonna bet a million $$$ that you can move both hands at exactly the same speed - no matter how long you've played the bass.


Now put your hands out and wiggle your ring finger and pinkie as fast as you can with each hand, now can you move just as fast???

Haaa! :spit: :smug:
 
Concentrate on getting that pressure down to a minimum. - The less pressure, the faster your fingers are going to move.

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I think that this is exactly it, practise a lot, but make sure you are practicing good technique. Play nice and softly, letting your fingers just skim those strings. Also be aware of how much movement your fingers are doing, mine used to come way off the string each pluck, you only need to move a couple of millimetres, and the less far you have to move, the quicker you will be.

Also if speed is a big priority I would suggest putting the time in to learning a three-finger technique. Loads of online resources around, just put it into google. It takes ages to get it fast and consistent because you need to be pretty dextrous, but grind out those practice hours and you'll get it!
 
BWAHAHAHAHAHAHA!!! Kids are so funny!

This ain't Guitar Hero here. This is the real world where if you want results, you have to work for them. It's serious business getting good on an instrument. And then you can have all the fun with it you want. But until then, get to work, you young ruffian, you!

GH takes practice too...
 
Jazz Ad said:
Fast fingers are slow fingers that know where to go.
Know your chords, scales and songs, they will play up to speed by themselves.

It really is as simple as that.

As is said in the Army, fast is slow; Slow is smooth; Smooth is fast.

Slow down and simply learn the fundamentals of articulate playing. What you will gain is coordination. That coordination over time becomes muscle memory, which in turn enables you to focus on the notes rather than on trying to make your fingers go faster.
 
I swear I can't move the index and middle fingers on my fretting hand nowhere near as fast as those on my plucking hand. Maybe something's wrong with me :(

Perfectly normal, the fingers have different ratios of power and speed. That is why exercise develops them and practice internalises the movement. As said the brain has to work out what is required and sevice the movement.
Each hand has two very different and distinct muscle groups and nerves, the brain contols them both, so you have to have them working together. If you cannot co-ordinate the movement then when you practice you are actualy practicing is unco-ordinated movement. You are making the unco-ordination dominante, you are indeed ingraining the action not to work, not get better.

I have written many times on the functions of playing from a body mechanics point of view. The bass, or any instrument, is the brain defining the movement to you. Muscles do not define the movement the brain does ( unless it is reflex, then the brain is by passed). Exercise, train, develop, or what ever you want to call it, the hands so they can function to play. Practice is play, the two tasks are seperated by what the brain calls them, the hands move the same as in practice as they do in playing.

In playing or practice the hard work of physical development is at the start of the task. If the task goes on to long then the benefit becomes negative. For the players that practice hours and hours a day, they can know off a couple of hours and it will not effect the end result of what the do. In fact long practice session or playing at some point starts to become wear and tear, in other words damage.

A player has a mind set that will have them believe that hours of practising will pay in the end. The reality is that for some it will for most it results in damage, and damage that shows up later rather than sooner.

Jazz Ad has it in a nut shell when he says
fast fingers are just slow fingers that know where to go

There is another one similar to have in any physical movement which is "fast hands, slow head". Giving yourself time to think is a big plus in any walk of life.

It has been said so many times i will say it again, practice slow Since speed is a different task to playing, you learn and work on the playing movements slow, then all you do is speed them up. It is that simple, but remember it will not work for all. With all the training, exercise, practise and time in the world it is not guaranteed you will get what you want.
Look to any sport and all you see is the top flight, you do not see the many that done the exact same but got nowhere. This is reflected in life as well...there are no gaurantees, but a player needs belief and that is what all this is about, the belief that it will work...its reality may be a lot different.:)
 
Perfectly normal, the fingers have different ratios of power and speed. That is why exercise develops them and practice internalises the movement. As said the brain has to work out what is required and sevice the movement.
Each hand has two very different and distinct muscle groups and nerves, the brain contols them both, so you have to have them working together. If you cannot co-ordinate the movement then when you practice you are actualy practicing is unco-ordinated movement. You are making the unco-ordination dominante, you are indeed ingraining the action not to work, not get better.

I have written many times on the functions of playing from a body mechanics point of view. The bass, or any instrument, is the brain defining the movement to you. Muscles do not define the movement the brain does ( unless it is reflex, then the brain is by passed). Exercise, train, develop, or what ever you want to call it, the hands so they can function to play. Practice is play, the two tasks are seperated by what the brain calls them, the hands move the same as in practice as they do in playing.

In playing or practice the hard work of physical development is at the start of the task. If the task goes on to long then the benefit becomes negative. For the players that practice hours and hours a day, they can know off a couple of hours and it will not effect the end result of what the do. In fact long practice session or playing at some point starts to become wear and tear, in other words damage.

A player has a mind set that will have them believe that hours of practising will pay in the end. The reality is that for some it will for most it results in damage, and damage that shows up later rather than sooner.

Jazz Ad has it in a nut shell when he says

There is another one similar to have in any physical movement which is "fast hands, slow head". Giving yourself time to think is a big plus in any walk of life.

It has been said so many times i will say it again, practice slow Since speed is a different task to playing, you learn and work on the playing movements slow, then all you do is speed them up. It is that simple, but remember it will not work for all. With all the training, exercise, practise and time in the world it is not guaranteed you will get what you want.
Look to any sport and all you see is the top flight, you do not see the many that done the exact same but got nowhere. This is reflected in life as well...there are no gaurantees, but a player needs belief and that is what all this is about, the belief that it will work...its reality may be a lot different.:)

As always great post, FF :) A point that I'd like to mention, though, is that my comment was in reference to devine saying that he'd bet anyone a million $ that the index and middle fingers on their fretting hand move as fast as those on the plucking hand. That's what I can't quite get my head around :confused:
 
Champbassist... Lol! I better start saving! Lol!

Yeah, if you do have a difference between hands, it has nothing to do with muscle tone. It has everything to do with brain control, or should I say how your brain is controlling.

A good friend of mine lectures in neuroeconomics and he was the first guy to really re-educate me in the way I viewed how we learn. I wish I could get him in on this conversation. - Although a lot of the time he loses me in the first 5 minutes of whatever he's trying to describe and then spends the next 15 minutes coming up with an analogy so my small brain can start to comprehend what he's trying to tell me lol!

Easy man,

Scott.

Free Online Bass Lessons - Scott's Bass Lessons
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A point that I'd like to mention, though, is that my comment was in reference to devine saying that he'd bet anyone a million $ that the index and middle fingers on their fretting hand move as fast as those on the plucking hand. That's what I can't quite get my head around :confused:

LOL as a rule the fingers on the dominant hand will always be stronger and more dexterous than the following hand. In other words a right handed person purely through the dominant use of the right hand will have better dexterity and visa versa. The two hands are never the same, that is a fact of having a dominant hand.

This's why many assume that the fretting hand is the important one to work on....in fact it is the opposite for a bass in so much that if you fret a note nothing happens, you have to pluck it to make the note. The syncopation of rhythm on a single note comes from the plucking hand.
It is the melding of the two hands together in the sense of timing that will produce the note and the tone...that is where practice comes in and thats where doing it slow will let the brain meld the action of the two into one.

For example i had a player with me the other day that struggled with the Iron Maiden song Number of the Beast. He played me the song and showed me the problem.
The problem was in fact not what he thought was, his fretting hand, but in his plucking hand.
We slowed him down to almost slow motion replay of playing the song, even to the extent his movements were all in slow motion as if it was him physically playing it in slomo, and he nailed it third time. After half a dozen run though of the song, we went straight to proper speed and he nailed it again.

He then wanted to see if he could now do it again......STOP.
This is a change in the function. The task as it is now will become will be about playing it again, not about playing the song.
There is now a pressure of expectation and that will lead the thinking to be about not making the mistakes rather than just playing it. He has played it and he should now understand he can play it, not make it a mental task by thinking he has to do it eveytime.
He has to accept he will make mistakes, this will lessen anxiety and leave his mind free to play, not think about not making mistakes.
Our brain is a very accomodating organ, in that it does not really register "no". Usually the thing your thinking about will happen will happen, even if you are thinking " i hope this does not happen", the brain accomodates the thought. So if playing you come to a part you have problems with and you are thinking "i hope i don't mess this up".
As a rule, you will.... because you are thinking "mess up"....you have changed from playing it to..... not messing up. Truth is if you trust yourself to play the notes and concentrate on the playing you will not mess up.

I have met so many people in life who have done something wrong then followed it up " I knew that was going to happen".
Simple answer is "why did you do it then if you knew it was going to happen"?
I'm sure many here on TB have done this and it is simply a change in the thought process and the brain accomodating it, because as the dominant thought the brain believes that this is the action and result you want.

Playing fast is as much a task of melding the mind and the hands to produce a desired result...but only if you understand the problem. As in the Iron Maiden player he was looking in the wrong place. It was not that his fretting hand was not fast enough, it was that it was out of sync with the plucking hand.

If you cannot play it slow you will never play it fast.