String Crossings (alternate right hand fingerings)

[cahir231]

I currently play with two fingers (index/middle), though I hope to eventually upgrade to three or more. I feel, however, that my middle finger is frustratingly weak compared to my index finger. This leads to problems such as uneven strokes (and unevenness in the resulting tone and rhythm) when I lead with the middle finger.

In addition to this, whenever I play scales, arpeggios, and etc. exercises that require string crossings, I do fine going from bottom to top (E to G) and back down again if I lead with my index finger all the time. However, if I lead with my middle finger, I have trouble catching the next lower string on the way down. For example, I'll play C B A on the D string with I M I but when I continue downwards and try to play G on the A string with my middle finger, it comes out weak, or I flub things up, or I double up on a single finger and it becomes garbled.

This issue is even more problematic when I play arpeggios (or try to cross strings downwards in a rapid fashion, say, one note per string).

I can only imagine that this would be an even greater problem if I attempted to add my ring finger to the mix.

Any suggestions as to how to strengthen my right hand fingers and promote ease of switching strings? I would like to be able to alternate comfortably and lead with whatever finger the patterns of notes in the music call for, whether it be the index, middle, or eventually ring finger.

Note: As I ascend/descend in a scale or pattern, I try to always follow my right hand fingers with my thumb (resting on the string immediately below the one being played). I find this gives my strokes more control and power. Is this important to maintain, or do you think my string crossings are being pointlessly slowed down by this?

Lots of questions, sorry about that...it's been a frustrating problem for me for too long.

 

[Spin Doctor]

Google this book: Bass Fitness - An Exercising Handbook. It's available on amazon for less than $10. It will address exactly what you are working on. When you get it, play the exercises using STRICT alternation. No cheating. Always be AWARE of what your fingers are doing.

It's not a fun book or that easy, but the first few pages will help immensely. It's the dull grunt work that will make your playing effortless.

Another easy alternating exercise is to practice alternating in all possible 2 finger patterns. There are only 4 of them. Pick any two adjacent frets to play with the left hand and practice plucking using strict alternation with the right, both adjacent strings and jumping over strings, up and down the strings. Play one exercise set all over the strings, then the next, etc. until you've done all 4. It goes like this:

LH ///RH
1-2 / 1-2
1-2 / 2-1
2-1 / 1-2
2-1 / 2-1

There are other methods, but they are hard to explain on the net. Just get the book, follow the directions and you will be fine. If you want to fix that problem, believe me it will help. There are certain things you should practice as a fundamental item every day and the alternating/string skipping is one. You are liable to get some string noise and artifacts as you do the string skipping. Just be aware of what string(s) are making noise, suss it out and it will take care of itself over time. You can also make up your own exercises to address problems you may be having. This is a form of "getting into" your instrument. Making it a part of you, as it were. As you learn to do that, your bass will get out of the way and the music will just start to come. I will be working on this aspect for the rest of my life as every musician will be, I suppose...

Everyone should have certain fundamental stuff in their practice regime, performed EVERYDAY that helps in every aspect of their playing. The 24 finger variations is another, as is picking a couple of notes EVERYDAY and playing them all over the fretboard, i.e. play all the "E's and A's" one day, "D's and G's" the next, etc". and do it every practice session starting at 60bpm and then increasing the speed to as fast as you can cleanly do it. Eventually you will know all the notes on your fretboard, and it happens much quicker than you think... But I digress...

The Thumb thing you are describing is called the "floating anchor" and it works fine for playing. It should not slow you down and as you said, will give you control and also mute the string you are resting on. You just have to get used to it. The "floating thumb" is different, in that your thumb will rest against the string, not on top of it. Advanced guys tend to to that. I have not started floating my thumb yet, but sometimes, I feel it happening.

 

[cahir231]

Thanks for your advice.

I actually own the book you mentioned, and have been working through it slowly. The same issues repeat themselves there, and I've practiced with alternation and there hasn't been too remarkable of a change yet. But I've only been doing it for a little while, so I suppose I should just continue and give it some time.

I originally was (and still am) a classically trained cellist, so I'm very familiar (and I daresay comfortable) with "dull grunt work". By now, I'm quite comfortable with my fingerboard in terms of the left hand...it's just the right hand that seems to elude me.

I guess I've been doing the right stuff (practicing modes, scales, and etc. things while trying to keep alternation consistent) so far...looks like I just need to do them longer.

I'm only afraid of wasting time in a myopic sense (zoned out on one or two things) and having my playing suffer or stagnate as a result.

Thanks, anyhow. I appreciate it!

 

[Spin Doctor]

I wasn't aware that you were classically trained. Hopefully it didn't sound like I was talking down to you.

So, if you have a strong musical background and been working through the book, then I'd say perhaps the issues are problems of awareness and not addressing them individually, by paying close attention to what is happening? I personally don't think that trying to fix a problem is myopia. It's said that all the great musicians, athletes, etc. do something called "deliberate practice" (whether they call it that or not) where they specifically address the things they suck at, fix it and then move on to the next thing they suck at.

Having said that, I suppose you don't want to get too bogged down in the weeds... One thing I do when I have a problem like that is to break it up into small chunks. Try doing the exercises in 2, 3 or 4 note groups so you can see exactly where the problem is. Or maybe a good teacher can help you?

 

[Dusty89]

As a rock/blues player I'm not sure I can shed that much light. Both of you seem to be well adept at playing and strength training. All I'll say, is maybe try to play with just your middle finger as much as possible. When I hit a swampy rhythm I prefer using my middle finger over my index. This allows me to flop my hand on the strings much more more fluently and aggressively. Again, not sure this really helps, but thought I'd add my two cents.

Good luck

 

[cahir231]

I wasn't aware that you were classically trained. Hopefully it didn't sound like I was talking down to you.

Dude, don't worry about it. Classical training only lets me see things a little bit more clearly from an analytical, sophisticated POV. It doesn't make me any better than you or anyone else. I came here for help from folks like you, who as musicians are my equals if not my betters...I hope to express myself with the appropriate humility. That said, speak freely. I have no ego that you need to worry about offending.

Thanks for your advice!

 

[schmig]

Hi, thread is a bit old but I'll chime in anyway. I've been trying to sort this one for a couple of years (been playing for about 4 years) but have been a bit busy learning sets for depping jobs etc. Lately I took "temporary early retirement" from playing, got myself a teacher, and am working *only* on my technique for the time being.

At lesson last week, we started to focus on my right hand. Now I had been trying to fix my finger alternation for a good amount of time, but have made more progress in the last week than in several years.

- Using index and middle to pluck
- Choose a finger to lead with, alternating periodically as you do the exercise
- Play something that crosses four strings, for instance an A major scale up to the 11th.
- On each note, play 4 quarter notes, so two notes per finger
- Accent the first note of every four. But rather than playing it more loudly, play the following 3 more quietly.
- Concentrate on only ever playing the accent with the chosen finger.
- Play your scale backwards and forwards.

For me, somehow, this has forced an awareness of which finger is playing first. I found it tricky initially when changing direction from highest note in scale, and crossing down strings from G towards E. With each day (do it for about 2 hours a night at the moment) it is getting much easier.

As for the floating thumb, I have a reasonable handle on it after about 4 months. I'm an ugly man, but standing in front of a mirror and looking at your right hand as you play will help no end. Try to keep the body of the bass low enough that you can drop your plucking arm straight down (you can see Gary Willis talk about this on youtube).

Lastly, this could cause some debate, but it's working for me - when working on this stuff don't worry about the bigger picture - don't be hurrying to get on to learning whatever new song you have to play next week - just concentrate on the exercise for as long as you can.

And start SLOW.

I'd read all this stuff here and elsewhere but somehow hearing it from my teacher's mouth has sent the message home.