Extended Right-Hand Technique for

Electric Bass

Michael D. Baker
Copyright
c 2006, 2007 by Michael D. Baker. All rights reserved. No part of this work may
be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopying and recording, or by any information storage or retrieval system without the
prior written permission of Michael D. Baker unless such copying is permitted by federal
copyright law.

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Contents

1 Introduction 1

2 Thumb 3
2.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.2 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

3 Thumb and Index 7

3.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3.2 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

4 Thumb, Index, and Middle 11

4.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4.2 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

5 Thumb, Index, Middle, and Annular 19

5.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
5.2 Exercises: arpeggios and chords . . . . . . . . . . . . . . . . . . . 19

6 Tremolo 21
6.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
6.2 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

7 Pseudo-Picking 23
7.1 Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
7.2 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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Chapter 1

Introduction

This book is designed to instruct players of medium to advanced ability in

extended right-hand technique for the electric bass. The lessons focus on right-
hand technique only and do not provide instruction in the fundamentals of bass
playing. The lessons also require the student to have a moderate ability to
read music. For these reasons, beginning students are likely to struggle with
the book without the assistance of a qualified instructor. However, beginning
students should be able to glean useful information with a qualified instructor’s
assistance.
For the most part, the techniques discussed only can be applied to the electric
bass. This fact is not due to a preference of the author for the electric bass over
the double bass but simply due to the differences in the physical construction of
the two instruments. For example, the curved bridge of the double bass makes
the tremolo technique extremely difficult, whereas the flat bridge of the electric
bass lends itself quite naturally to the technique. This is not to say that a
creative and innovative player could not adapt some of the techniques discussed
in this book to the double bass. The author simply does not wish to mislead
the student into assuming that all of the techniques discussed apply to all string
bass instruments. Of course, an acoustic bass “guitar,” with a construction
similar to an electric bass, could easily implement the techniques discussed.
The exercises included in each chapter are designed to serve as tools, not
ends in and of themselves, for developing the various right-hand fingers and for
increasing the student’s level of comfort with the various techniques. As a result,
the exercises should be practiced repeatedly as needed, not played once or “to
mastery” and cast aside. Consequently, they should serve as useful warm-up
exercises.
The author hopes the student will find this book useful and enjoyable and
wishes the student the best in her or his study of this great instrument.

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Chapter 2

Thumb

2.1 Discussion
The thumb (or pulgar ) is the right-hand finger intuitively used by many begin-
ning electric bass players. The use of the thumb for plucking the strings seems
natural to many beginning students, perhaps, because, when holding the elec-
tric bass in the conventional position, the thumb resides in a convenient location
for striking the strings and/or because this finger is strong enough to strike the
large, cumbersome strings of the instrument with relative ease.
After students learn the more standard technique of using the index (or
indice) and middle (or medio) fingers for striking the strings, they often come
to neglect the thumb, usually using it only an anchor for right hand. However,
rediscovering the thumb as an actual plucking tool can be very rewarding for
advanced players, and the use of this finger can offer many opportunities that
might not be afforded by other techniques.
Even though playing with the thumb should seem fairly natural to most
students, the following guidance as to hand position might be useful.
When striking the strings, the thumb should be kept fairly straight, but not
rigid, and should be positioned at approximately a 45◦ angle to the strings. The
thumb should strike the strings in a downward motion, moving only from the
lower joint at the base of the thumb, not from the wrist or the upper joint.
When striking the 4th and 3rd strings of the instrument, the index and middle
fingers can rest on the 2nd and 1st strings (in a prone playing position) to help
anchor the right hand. The following picture illustrates this hand position:
Insert picture
When the thumb is used to strike the 2nd and 1st strings, the index and
middle fingers can come to rest on the body of the instrument.
After striking the string, the thumb will usually glide over the adjacent
string in what is called a freestroke, discussed in more detail the next chapter.
However, the thumb can also come to rest on the adjacent string in what is
called a reststroke, also discussed in the next chapter. The latter is used if more
power or enunciation of the note is desired. Though the former is more common
with the thumb, both techniques can be explored.

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2.2 Exercises
The following exercises make use of only the open strings both for simplicity
and because, in practice, the thumb is often used to strike the open strings for
a “pedal tone” (sustained, repeated bass note) effect.
When practicing these exercises, you may notice the notes “running to-
gether” and, as a result, “sounding muddy.” Try not to let this bother you for
now. The goal of these exercises is to train the thumb.
The p notation below the notes stands for pulgar and indicates that the
notes are to be played with the thumb. Such finger notations will appear in
later exercises too.

Exercise 2.1

Exercise 2.2

Exercise 2.3

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Exercise 2.4

Exercise 2.5

Exercise 2.6

Exercise 2.7

Exercise 2.8

Exercise 2.9

Exercise 2.10

Exercise 2.11

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Exercise 2.12

Exercise 2.13

Exercise 2.14

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Chapter 3

Thumb and Index

3.1 Discussion
The use of the index (or indice) for striking the strings will be very comfortable
for most players. However, sophisticated coordination of the thumb and index
finger will most likely not be. In actual practice, the use of the thumb and
index finger only is rare, but the two fingers are isolated here for instructional
purposes.

Rest Stroke and Free Stoke Most players will be familiar with the rest
stroke (or apoyando or hammer stroke), as this is the right-hand stroke most
commonly used on the electric bass. During the rest stroke, a player’s finger
strikes the string and continues in motion until it comes to rest on the adjacent
string. The two pictures below show the placement of the finger before and after
the rest stroke.
Insert photos
Many players will not be familiar with the free stroke (or tirando) because
it is not commonly used on the electric bass. During the free stroke, a player’s
finger strikes the string and continues in motion, clearing the adjacent string,
and following through towards the center of the hand. The two pictures below
show the placement of the finger before and after the rest stroke.
Insert photos
Using both types of strokes can greatly expand a player’s technique. As a
general rule, the rest stroke should be used when notes need more “power,”
emphasis, or enunciation, for example, in a melody line that needs to be clearly
pronounced or a rhythm line that needs to be “driving.” The free stroke, on the
other hand, should be used when notes need to be softer or when notes need
to “run together” or be played legato, for example, when playing “arpeggios”
(chords where the notes are played in succession rather than simultaneously).

3.2 Exercises
As with the exercises in Chapter 2, don’t worry if the notes “run together” or
“sound muddy.” Focus, instead, on the coordination of the thumb and middle
finger.

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 The p notation was used in Chapter 2 to indicate that notes were to be played
with the thumb. Similarly, the i notation below some of the notes stands for
indice and indicates that the notes are to be played with the index finger.
Practice the first six exercises employing freestroke only. Then practice them
using freestroke with the thumb and reststroke with the index finger.

Exercise 3.1

Exercise 3.2

Exercise 3.3

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Exercise 3.4

Exercise 3.6

Exercise 3.6

On the remaining exercises, the index finger should use the rest stroke. If
desired, the thumb can also use the rest stroke by bringing it to rest on the
adjacent string at the end of each down stroke. The number notations are
suggested fingerings for the left hand. The circled number indicates the string
on which the notes are to be played.

Exercise 3.7

Exercise 3.8

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Chapter 4

Thumb, Index, and Middle

4.1 Discussion
As with the index finger, the use of the middle finger (or medio) will be very
comfortable for most players. Furthermore, the coordination of the index and
middle fingers also will be comfortable. However, coordinating the index and
middle fingers with the thumb likely will be new for even the most advanced
players. As a result, the coordination of these fingers should be practiced ex-
tensively.

4.2 Exercises
All the exercises in this chapter should be freestroked. While it is possible to
conceive of situations where the combination of the thumb, index, and middle
fingers might be used restroke, freestroke is focused on here, as it is far more
common with this finger combination.
The exercises in this chapter are significantly longer and more complicated
because the core concepts of extended right-hand technique have been intro-
duced and the combination of thumb, index, and middle is, perhaps, the most
important finger combination in extended right-hand technique. As a result,
the focus of these exercises in on extensive and varied application.
Similar to the p and i notations used in the previous chapters, the m notation
below some of the notes stands for medio and indicates that the notes are to be
played with the middle finger.

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Exercise 4.1

Exercise 4.2

Exercise 4.3

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Exercise 4.4

Exercise 4.5

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Exercise 4.6

14
Exercise 4.7

15
Exercise 4.8

16
Exercise 4.9

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Chapter 5

Thumb, Index, Middle, and

Annular

5.1 Discussion
The ring finger (or annular ) is a finger not commonly used in bass playing.
Incorporating this finger into one’s playing can add a whole new dimension to
a player’s style and virtuosity. However, the ring finger usually requires a great
deal of development, as it is almost always weaker and less coordinated than the
index and middle fingers. When a student begins development of the annular,
the student should practice the annular at least twice as much as the other
fingers.

5.2 Exercises: arpeggios and chords

Similar to the p, i, and m notations, the a notation below some of the notes
stands for annular and indicates that the notes are to be played with the ring
finger.

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Chapter 6

Tremolo

6.1 Discussion
Tremolo is one of the most difficult right-hand techniques. As a result, mastering
the technique requires a great deal of commitment. The reward, though, is that
the tremolo is incredibly beautiful and very impressive to listeners. Furthermore,
the technique will create possibilities in the student’s playing style that, before
mastery, the student would not have imagined.
In brief, traditional tremolo consists of playing four notes using p, a, m, and
i in rapid succession. p is used to play a bass note, and a, m, and i are used to
play a higher note (all the same note) in succession, as follows:

1. First, the bass note is plucked with p

2. Next, the higher note is free stroked with a

3. Then, the higher note is free stroked again with m

4. Finally, the higher note is free stroked with i

[Insert discussion of hand position and photo of hand position] Tremolo

should be practiced using a metronome. Once the student is comfortable with
the concept of the technique and the hand position, the student should begin
practicing the technique with the metronome at as slow a tempo as necessary,
working to make the notes as even as possible. When comfortable at this slow
tempo, the student should try a slightly faster tempo. The student should keep
increasing the tempo gradually as mastery of the technique improves. The stu-
dent should be patient. The development of the tremolo technique takes time,
but the reward is worth it.

6.2 Exercises
pmi then pami

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Chapter 7

Pseudo-Picking

7.1 Discussion

As most electric bass players will know, there is a great deal of controversy in the
electric bass playing community as to which right-hand technique is “superior”:
striking the strings with the the fingers of the right hand (or playing pizzicato)
or striking the strings with a pick (or plectrum). Advocates of the pizzicato
technique will note that pizzicato is commonly used on the double bass and is,
therefore, a more “traditional” and “acceptable” technique. Advocates of the
plectrum technique will note that the electric bass is more similar to the electric
guitar or steel-string guitar than the double bass, and, therefore, the use of the
plectrum is appropriate.

The author has no delusions that he can solve this debate. However, the
author personally prefers the pizzicato technique because he believes it allows
for more versatility in playing, if this fact isn’t blatantly obvious since this book
focuses entirely on pizzicato technique. At the same time, the author believes
that a useful tool is lost if the use of the plectrum is ignored. As a result, the
author advocates the “pseudo-picking” technique as an effective compromise.

7.2 Exercises

[Include double picking with p]

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 Please note that the symbol [fix graphic]
symbolizes “downbowing” in traditional bass playing. If you are using your fin-
gers, instead of a bow, you may interpret these symbols as “down plucking” or
“down picking,” as is customarily done in guitar. Please also note that the sym-
bol [insert upbow symbol] symbolizes “upbowing” in traditional bass playing
and can be interpreted as “up plucking” or “up picking.”

thumb = pulgar index = indice middle = medio ring = annular

OBC

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