Same finger different string, and emphasis

[Annoying Twit]

Bass guitar for dummies recommends that even when you're playing with alternating fingers, that when you move down from a higher string to the next lower string, you use the same finger as the last note.

In theory I can see how this works. You have the finger already resting on the string, you might as well use it. But, I'm slightly disappointed in that in trying to apply it, I'm having to relearn how to play all the basic modes. I definitely can see potential, once it becomes ingrained, particularly for major and minor triads, but at the moment it feels like I've taken a big step back while I learn it.

Is this technique a standard technique with many advantages? Or is it a more personal thing? I suppose I'm going to go ahead with it anyhow unless there's an outcry of "that's wrong", which I doubt will happen. So I might be wasting everyone's time here. But, I'd still appreciate hearing opinions on it.

Also, when putting emphasis into a rhythm, I've been practicing it alone without backing. When I listen to the example on the CD, the emphasis the author adds to notes is much more of a difference than what I've been doing, with me being comparatively subtle. I'm guessing that subtle emphasis isn't going to work on bass in a band context, as people won't be able to hear subtle differences over all the other instruments. Is this correct?

[velvetkevorkian]

I'm very much in the "strict alternation" camp as far as the right hand goes- I try and keep the same pattern of fingers going at all times, using 3 fingers mostly. I'd say if you have a right hand technique that works for you there's no particular reason to change it.

As far as emphasis in a band context, it really depends on the rest of the band and the overall sound.

[Fat Rich]

I find it really useful to rake across the strings, you're moving your hand upwards anyway so why not use that motion to play a note? I find it super useful for playing ghost notes on funkier bass lines too, I find it better to play a ghost note on a thicker string (E or even low B ) as it gives more of a thud.

Strict alternation is worth working on too but I'd say practice both and soon you won't think about it... you'll just do what feels and sounds best.

Edited July 16, 2010 by Fat Rich

[Doddy]

So,basically it's recommending 'raking'. Even though I alternate fingers all the time,when it comes to descending strings at at speed,I find raking to be much more comfortable.I can keep a strict alternation between my two fingers,but I naturally tend to favour the raking technique. To be honest,I don't think it makes any difference which way you do it,as long as you can play what you are trying to achieve. Many players rake the strings when they are playing-I first saw it done by Jaco.

Why do you have to 'relearn the basic modes' because of this? The notes aren't changing,only the way pick them. Try playing them as you normally would,without thinking about your plucking hand, and gradually increase the tempo. You may find that you are raking anyway, without realising it-that's what I did.

[XB26354]

I'm not familiar with the book in question, but bearing in mind all the learning material out there (plus YouTube and of course, Basschat), surely there is a better resource than a For Dummies book, even if it is well written? In my experience, if you sort out the plucking hand early on you save years of wasted effort later trying to unlearn and relearn. I speak from experience - at some stage, if you have inefficient technique, you will run out of "speed headroom". In pure physics terms it would be hard to play a note on one string and then immediately a note on the next lowest string more quickly with two fingers than by raking, but if not done carefully and cleanly you can lose control. I would get a couple of lessons with a good teacher to look at plucking hand techniques, as things aren't usually so clear-cut as they are with the fretting hand. One finger, two fingers, three fingers, four fingers, use the thumb or not, rest strokes or not, floating thumb or not, rake or don't rake? Or a combination of several, depending on what you play? If you can find out what works for you and enables you to play accurately and quickly with good tone, then you've answered your question.

With regard to emphasis, try playing the loud notes at med-loud volume, but make the quiet notes really quiet. It helps with control and to get more dynamics in your playing. Also try lines starting with the index and then starting with the middle finger (assuming two-finger plucking hand technique) - it helps to even out your plucking so index and middle sound the same (when you want them to).

[Annoying Twit]

Thanks for all the replies folks. I've been reading and thinking about them over the last few days.