Strict alternating - 3 Finger Technique

[Fellow_Bassist]

Hi!

Past couple of days I've been reading some older threads about strictly alternating fingerstyle playing. So what I'm talking about is strict alternation when moving up strings, like playing a straight 16th note line that moves from G to D to A string without any raking/"finger repetition". Now there were a lot of users defending raking (using examples like Wooten and Pastorius who also do it), but also those who swear by strict alternation for clean consistency especially on fast bass parts...

But it was always about 2 finger technique. I regularly use 3 finger technique for fast stuff. With the pattern Index>Ring>Middle>IRMIRMIRMI ..... like John Myung and Alex Webster for example (I think Sheehan as well?). I don't really get why there seem to be people who play IMRMIMRM... which to me defeats the purpose of using a third finger ... but that's another topic

Now I wanted to know if there are any "success stories" of playing 3 finger technique strictly alternating? Because it feels to me like I could get strict alternation down for 2 fingers, but for 3?!

 

[FatStringer52]

I am not aware of any players who strictly alternate using three finger picking. I'm sure there are some out there.

Billy Sheehan's three finger technique is R M I and he does employ raking . . .



Whether you strictly alternate or rake is a personal choice and I am positive if you take the time you will be able to perfect whichever technique you prefer. If it were me I would spend some time with both and find out which worked best for me.

 

[eriky4003]

This is my preferred way of playing. I thought Steve Harris played with three fingers until I joined TB and discovered otherwise. My original thinking was to have 3 fingers plucking to reduce the stress on 2 fingers for the rest of my playing career. More recently, began switching to 2 fingers in hard passages to increase accuracy.

 

[Lagado]

I played with three fingers for around 10 odd years, I still do for certain things. I play the same as Sheehan's combination - RMI. I rake quite a bit in spite of using three, alternating is equally as important as raking. If I was to start again I would pay real attention to practicing alternating at the same time, it's just harder to do, it takes time. Raking falls almost naturally.

 

[thabassmon]

Nothing is strict with my playing.
I have five digits on my plucking hand, I use whichever one I need to.

 

[Les Fret]

I am not aware of any players who strictly alternate using three finger picking. I'm sure there are some out there.

Billy Sheehan's three finger technique is R M I and he does employ raking . . .

It sure works for Billy Sheehan but I find playing in four with a three grouped fingering very unnatural When strictly alternating. Especially with string crossings. But combining raking with three fingers like Sheehan feels also unnatural. I use three fingers A lot and even four but never in this kind of way. Not so much for solo runs but mostly for fast triplet stuff or fixed patterns or string crossing things and chords.

There is Niels Henning Osted Personal an upright player who plays alternating with three fingers.

Just find something that works and feels natural to you.

 

[Lagado]

Nothing is strict with my playing.
I have five digits on my plucking hand, I use whichever one I need to.

You do understand what strict alternation is yes? That's what the thread is about.

 

[YawningJorin]

You can read a bit about Alex's approach in his book Extreme Metal Bass. Very good read, especially if you're into metal. All that said, I don't see there being a reason why you couldn't succeed in this. I personally rake and swear by it, but if you insist on strict alteration, the only thing standing in your way is practice

 

[thabassmon]

You do understand what strict alternation is yes? That's what the thread is about.

I sure do.

 

[Ricky Rioli]

Whenever I try to ask my right hand what's going on, it just tells me to mind my own business

 

[OptimalOptimus]

 

[dreamadream99]

Let’s get two terms straight, first. Up and down don’t refer to floor to ceiling aspect—they refer to pitch of strings. So D to G is up a string, and D to A is down a string.

When it comes to playing fast and for long periods of time, it’s all about economy and efficiency of motion. When you move to a lower string, it takes less time and energy to use the same finger that just played the string above it, since it comes to rest on the lower string anyway, so it is already poised to play it.

 

[Lagado]

When it comes to playing fast and for long periods of time, it’s all about economy and efficiency of motion. When you move to a lower string, it takes less time and energy to use the same finger that just played the string above it, since it comes to rest on the lower string anyway, so it is already poised to play it.

If that sequencing fits the pattern of what you are playing. On some things it certainly is beneficial to have individual finger sequencing. It's not either or, you learn both.

 

[Fellow_Bassist]

Thanks for all your replies!

I think I will stick to raking, but focus on getting everything as even as possible. Because I feel like when it's time for my ring finger to rake it's not as seamless as index and middle yet ...

 

[dreamadream99]

Thanks for all your replies!

I think I will stick to raking, but focus on getting everything as even as possible. Because I feel like when it's time for my ring finger to rake it's not as seamless as index and middle yet ...

Ah, now you got it. It’s all about homogenizing the sound of all your plucking fingers, through the full range of dynamics and angles.

 

[Lagado]

Raking won't cut it for certain things. You'll find that out. Nothing worth doing was ever easy, nothing comes for nothing.

 

[Fellow_Bassist]

Raking won't cut it for certain things. You'll find that out. Nothing worth doing was ever easy, nothing comes for nothing.

What are "certain things"? Could you give an example?

 

[Lagado]

What are "certain things"? Could you give an example?

Things with constant sixteenths while crossing strings sometimes need to be sequenced so you have the right picking combination. If you have to recover from a raked position, that can trip you up. Some other aspects of playing wide intervals and returning to the root. I played with three for over ten years, it can turn into a mess if it isn't organized. The point is, there is no one stopping you from practicing both.

Try "What is Hip" by Tower of Power, where it leaves the constant 16ths onto that little turnaround riff.