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Safe right hand and LEFT hand technique for building dexterity ?

Y

yatouji

Guest
Oct 4, 2014
13
1
34
#1
Hello community, I came across recently this cool article on the 'flying fingers' of the left hand The Flying Fingers Problem | Bass Technique | StudyBass and started to think about all of my right and left hand technique for building clean solid healthy dexterity.
So here is the question : to practice dexterity, should I practice 'hard' until my hand's muscles cannot take it anymore (you know like working out you stop the set when you reach muscle failure) and time will take care of the rest or should I practice with the least effort avoiding all sorts of tension not like 'hard' practice (you know; barely pressing the strings and keeping all fingers close to the fretboard). If the answer is the second option, then I'm struggling to keep the fingers close to the fretboard and I feel a big tension in my left hand. Does it mean that there is something wrong with my technique or it is just new for my hand's muscles to get used to it ?

I invite you to take a look at my playing to see exactly what I'm talking about:


And finally, I'd like to hear some suggestions for improving the right hand technique. I'm starting to feel pain by bowing it ...


Cheers !
 
#2
I'm not going to get into right hand technique.

Remember school? How long were the classes? Yep 50 minurtes. Why? Somewhere between 45 minutes to one hour we lose our focus. So short 45 minute sessions with a 15 minute break -- and then you can go all day if you like. Keep your practice sessions to that 45 minute limit. Then after the break, help yourself to more if you like.

Light touch let the amp do the work. What exercises? Scales. Does two things; 1) builds muscle memory and 2) if you say the note names as you play it helps learn where the notes are on your fretboard. Major scale box and the scale degrees numbers should give you all the exercise you need.


Bass Patterns based upon the Major Scale box.

Major Scale Box.
G~|---2---|-------|---3---|---4---| 1st string
D~|---6---|-------|---7---|---8---|
A~|---3---|---4---|-------|---5---|
E~|-------|---R---|-------|---2---|4th string
I'm sure you have seen this box with dots. Adding the numbers lets it come alive.
Want the C major scale put the box's R over a C note and play the pattern (spelling) of the item you want to play.

Basic Chords
  • Major Triad = R-3-5 aka C
  • Minor Triad = R-b3-5 aka Cm
  • Diminished Chord = R-b3-b5 aka Cdim
7th Chords
  • Maj7 = R-3-5-7 aka Cmaj7
  • Minor 7 = R-b3-5-b7 aka Cm7
  • Dominant 7 = R-3-5-b7 aka C7
  • ½ diminished = R-b3-b5-b7 aka Cm7b5
  • Full diminished = R-b3-b5-bb7 aka Co
Scales
  • C Major Scale = R-2-3-4-5-6-7 Home base
  • C Major Pentatonic = R-2-3-5-6 Leave out the 4 & 7
  • C Natural Minor Scale = R-2-b3-4-5-b6-b7 Major scale with the 3, 6 & 7 flatted.
  • C Minor Pentatonic = R-b3-4-5-b7 Leave out the 2 & 6.
  • C Blues = R-b3-4-b5-5-b7 Minor pentatonic with the blue note b5 added.
  • C Harmonic Minor Scale = R-2-b3-4-5-b6-7 Natural minor with a natural 7.
  • C Melodic Minor Scale = R-2-b3-4-5-6-7 Major scale with a b3.
Major Modes The following are Parallel modes where the key stays the same and the notes change. Different from Relative modes. Both get to the same place. I work best with parallel. Want the Latin sound Mixolydian? Use the major scale and flat the 7. Want the Middle Eastern sound of Phrygian? Phrygian is a minor scale so -- use the natural minor scale and flat the 2. Want the attractive minor sound of Dorian? Use the natural minor scale and sharp the b6 into a natural 6.
  • C Ionian same as the Major Scale. R-2-3-4-5-6-7
  • C Lydian use the major scale and sharp the 4 - yes, it’s that simple.
  • C Mixolydian use the major scale and flat the 7. Change one note.....
Minor Modes
  • C Aeolian same as the Natural Minor scale. R-2-b3-4-5-b6-b7
  • C Dorian use the Natural Minor scale and sharp the b6 back to a natural 6. Change one note.
  • C Phrygian use the Natural Minor scale and flat the 2. Again change one note.
  • C Locrian use the Natural Minor scale and flat the 2 and the 5. OK here you have to change two notes.
As these all are based upon the C "whatever" run all of them at the 4th string 8th fret. Then Take them around the circle starting with D @ the 10th fret. E @ the 12th, F @ the 1st fret, etc. Why? The fret spacing at the 1st fret is a lot larger than the fret spacing at the 12th fret, but, you still need to fret the sweet spot - that's why I want you to walk your scale patterns.

That should keep you busy for a while. Have fun. Set your metronome at a slow pace and increase it as your skill level allows.
 
Last edited:
#3
MalcolmAmos said:
I'm not going to get into right hand technique.
Click to expand...

LOL !! I'll try to help with that so, Malcolm. ;)

OP, having the wrist(s) severely angled will result in pain (as you are now learning) and injury. I would suggest you try out either the "Floating Thumb" or "Floating/Movable Anchor" technique. With the first, the thumb does not rest on anything but...well...floats. With the second, the thumb rests on the string above (or two above) the one being played. Check You Tube for video clips of these techniques.

It is important for both hands to be as relaxed as possible.....no matter what you are practicing. Having tension in the hands only leads to fatigue and possible injury.

Practicing until your hands ache is not the way to go IMO. Little and often, for the sake of both the brain (after an hour it needs a rest to digest information) and for your fingers, wrists and hands. Forty five minutes to an hour at a time with a fifteen minute break is good. Also be sure to warm up and down before and after each practice session with some gentle stretches. Again, check You Tube for..."hand stretches for bass/guitar".

Here is a clip on safe right hand technique :

 
Last edited:
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#4
MalcolmAmos said:
I'm not going to get into right hand technique.

Remember school? How long were the classes? Yep 50 minurtes. Why? Somewhere between 45 minutes to one hour we lose our focus. So short 45 minute sessions with a 15 minute break -- and then you can go all day if you like. Keep your practice sessions to that 45 minute limit. Then after the break, help yourself to more if you like.

Light touch let the amp do the work. What exercises? Scales. Does two things; 1) builds muscle memory and 2) if you say the note names as you play it helps learn where the notes are on your fretboard. Major scale box and the scale degrees numbers should give you all the exercise you need.


Bass Patterns based upon the Major Scale box.

Major Scale Box.
G~|---2---|-------|---3---|---4---| 1st string
D~|---6---|-------|---7---|---8---|
A~|---3---|---4---|-------|---5---|
E~|-------|---R---|-------|---2---|4th string
I'm sure you have seen this box with dots. Adding the numbers lets it come alive.
Want the C major scale put the box's R over a C note and play the pattern (spelling) of the item you want to play.

Basic Chords
  • Major Triad = R-3-5 aka C
  • Minor Triad = R-b3-5 aka Cm
  • Diminished Chord = R-b3-b5 aka Cdim
7th Chords
  • Maj7 = R-3-5-7 aka Cmaj7
  • Minor 7 = R-b3-5-b7 aka Cm7
  • Dominant 7 = R-3-5-b7 aka C7
  • ½ diminished = R-b3-b5-b7 aka Cm7b5
  • Full diminished = R-b3-b5-bb7 aka Co
Scales
  • C Major Scale = R-2-3-4-5-6-7 Home base
  • C Major Pentatonic = R-2-3-5-6 Leave out the 4 & 7
  • C Natural Minor Scale = R-2-b3-4-5-b6-b7 Major scale with the 3, 6 & 7 flatted.
  • C Minor Pentatonic = R-b3-4-5-b7 Leave out the 2 & 6.
  • C Blues = R-b3-4-b5-5-b7 Minor pentatonic with the blue note b5 added.
  • C Harmonic Minor Scale = R-2-b3-4-5-b6-7 Natural minor with a natural 7.
  • C Melodic Minor Scale = R-2-b3-4-5-6-7 Major scale with a b3.
Major Modes The following are Parallel modes where the key stays the same and the notes change. Different from Relative modes. Both get to the same place. I work best with parallel. Want the Latin sound Mixolydian? Use the major scale and flat the 7. Want the Middle Eastern sound of Phrygian? Phrygian is a minor scale so -- use the natural minor scale and flat the 2. Want the attractive minor sound of Dorian? Use the natural minor scale and sharp the b6 into a natural 6.
  • C Ionian same as the Major Scale. R-2-3-4-5-6-7
  • C Lydian use the major scale and sharp the 4 - yes, it’s that simple.
  • C Mixolydian use the major scale and flat the 7. Change one note.....
Minor Modes
  • C Aeolian same as the Natural Minor scale. R-2-b3-4-5-b6-b7
  • C Dorian use the Natural Minor scale and sharp the b6 back to a natural 6. Change one note.
  • C Phrygian use the Natural Minor scale and flat the 2. Again change one note.
  • C Locrian use the Natural Minor scale and flat the 2 and the 5. OK here you have to change two notes.
As these all are based upon the C "whatever" run all of them at the 4th string 8th fret. Then Take them around the circle starting with D @ the 10th fret. E @ the 12th, F @ the 1st fret, etc. Why? The fret spacing at the 1st fret is a lot larger than the fret spacing at the 12th fret, but, you still need to fret the sweet spot - that's why I want you to walk your scale patterns.

That should keep you busy for a while. Have fun. Set your metronome at a slow pace and increase it as your skill level allows.
Click to expand...

Thank you MalcolmAmos for taking your time to post such a detailed reply but actually I was talking purely technique not theory. That's really good to know about the light touch and the 45min practice.
 
Last edited:
#5
fearceol said:
LOL !! I'll try to help with that so, Malcolm. ;)

OP, having the wrist(s) severely angled will result in pain (as you are now learning) and injury. I would suggest you try out either the "Floating Thumb" or "Floating/Movable Anchor" technique. With the first, the thumb does not rest on anything but...well...floats. With the second, the thumb rests on the string above (or two above) the one being played. Check You Tube for video clips of these techniques.

It is important for both hands to be as relaxed as possible.....no matter what you are practicing. Having tension in the hands only leads to fatigue and possible injury.

Practicing until your hands ache is not the way to go IMO. Little and often, for the sake of both the brain (after an hour it needs a rest to digest information) and for your fingers, wrists and hands. Forty five minutes to an hour at a time with a fifteen minute break is good. Also be sure to warm up and down before and after each practice session with some gentle stretches. Again, check You Tube for..."hand stretches for bass/guitar".

Here is a clip on safe right hand technique :

Click to expand...

Thank you bro ! That's really what I was looking for (y)
 
Last edited:
#7
yatouji said:
And finally, I'd like to hear some suggestions for improving the right hand technique. I'm starting to feel pain by bowing it ...
Click to expand...

FWIW I get right hand/wrist pain when playing sitting down - it sets in after about 10 minutes. The cure? Stand up!

For me, my 'neutral position' needs the bass to hang lower on my body than can be accommodated when I'm sitting, so my right wrist is forced into a tight bend. It's not a big deal to stand up; I don't sit down at a gig, so why practise sitting?

Pete.
 
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#8
Left hand technique: when sitting, hold the bass "Gary Willis style", aka modified classic guitarist style - check Gary out via numerous YouTube vids to see what I mean - when standing, adjust your strap so the bass is held in the same place/position on your body as when you play "Gary Willis style" sitting - both will straighten out your left wrist more;

Right hand technique: floating thumb. Period. End-of-story. Check out TB columnist Todd Johnson for this, via YouTube vids or his excellent "Technique Builders" DVD available on Amazon or for download from Todd's website. Among other things, it, too, keeps your R wrist basically straight, + gives you another (excellent) way to mute.

Briefly, a few years ago I began to develop carpal tunnel issues in both L and R hands/wrists/forearms - I completely overhauled my technique for both hands using the above suggestions and "Voila!" - no more carpal tunnel issues. Gone. Zip. Nada.

Took a few months to make this change, but I wouldn't go back now even if I could.

JMHO

Edit - as far as practicing "hard", I wouldn't: bad idea IMNSHO.

I'm with Gary Willis and many others on this: turn up and pick light with the right hand (you'll get a fatter tone, among other benefits), and relax the left hand as much as possible - you want to press the strings into the fingerboard with just enough finger pressure to do the job and no more.

It ain't the Olympics: you don't get points for difficulty. :)
 
Last edited:
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#9
Deathblade Eric said:
FWIW I get right hand/wrist pain when playing sitting down - it sets in after about 10 minutes. The cure? Stand up!

For me, my 'neutral position' needs the bass to hang lower on my body than can be accommodated when I'm sitting, so my right wrist is forced into a tight bend. It's not a big deal to stand up; I don't sit down at a gig, so why practise sitting?

Pete.
Click to expand...
That's a good point. Thanks :)
 
#10
deckard said:
Left hand technique: when sitting, hold the bass "Gary Willis style", aka modified classic guitarist style - check Gary out via numerous YouTube vids to see what I mean - when standing, adjust your strap so the bass is held in the same place/position on your body as when you play "Gary Willis style" sitting - both will straighten out your left wrist more;

Right hand technique: floating thumb. Period. End-of-story. Check out TB columnist Todd Johnson for this, via YouTube vids or his excellent "Technique Builders" DVD available on Amazon or for download from Todd's website. Among other things, it, too, keeps your R wrist basically straight, + gives you another (excellent) way to mute.

Briefly, a few years ago I began to develop carpal tunnel issues in both L and R hands/wrists/forearms - I completely overhauled my technique for both hands using the above suggestions and "Voila!" - no more carpal tunnel issues. Gone. Zip. Nada.

Took a few months to make this change, but I wouldn't go back now even if I could.

JMHO

Edit - as far as practicing "hard", I wouldn't: bad idea IMNSHO.

I'm with Gary Willis and many others on this: turn up and pick light with the right hand (you'll get a fatter tone, among other benefits), and relax the left hand as much as possible - you want to press the strings into the fingerboard with just enough finger pressure to do the job and no more.

It ain't the Olympics: you don't get points for difficulty. :)
Click to expand...

Simply awesomeness ! That's the specific answers that I was looking for (y)
 
#15
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#16
yatouji said:
Hello community, I came across recently this cool article on the 'flying fingers' of the left hand The Flying Fingers Problem | Bass Technique | StudyBass and started to think about all of my right and left hand technique for building clean solid healthy dexterity.
So here is the question : to practice dexterity, should I practice 'hard' until my hand's muscles cannot take it anymore (you know like working out you stop the set when you reach muscle failure) and time will take care of the rest or should I practice with the least effort avoiding all sorts of tension not like 'hard' practice (you know; barely pressing the strings and keeping all fingers close to the fretboard). If the answer is the second option, then I'm struggling to keep the fingers close to the fretboard and I feel a big tension in my left hand. Does it mean that there is something wrong with my technique or it is just new for my hand's muscles to get used to it ?

I invite you to take a look at my playing to see exactly what I'm talking about:


And finally, I'd like to hear some suggestions for improving the right hand technique. I'm starting to feel pain by bowing it ...


Cheers !
Click to expand...



I'm of the first mindset, mixed with the second. Practice till fatigue, but while maintaining a light touch. I approach dexterity exercises from the mindset of "maxing out." I note what my maximum bp is for clean execution, and attempt to push past that. That moment right past your maximum is where most of the improvement lies, but you have to make sure that you build up to it so that the body can adjust to the higher speed.
 
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