When I search the web, it appears that a lot of work has been done for violin fingering, piano, and saxophone, but alas, none for right-hand picking patterns. I am trying to find some scientific stuff done with computer modeling - the bones of the hand, angles of the joints etc. - but even anecdotes, old wives tales and wild-ass conjecture would be appreciated. For example, does anybody ever play non-roll triplets T-I-M? Or, even use T-I-M-R to play single-note licks?

I know that Joe Wright pretty much advocates that you be capable of playing any sequence with any combination, but I also remember that Jeff Newman said that too many choices can confuse you at high speed. I think BE also advocates making speedy things as simple as possible?

[This message was edited by David Mason on 04 April 2005 at 03:23 AM.]

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Howard, 'Les Paul Recording, Zum S12U, Vegas 400, Boss ME-5, Boss DM-3
http://www.Charmedmusic.com

Bill Stafford

At Mesa AZ, the pickers that impressed us most used an index finger lead, notably Hal Rugg and Doug Jernigan. At Dallas, Hal, Doug, Randy Beavers (I think) and Paul Franklin again were predominantly using index finger leads.

I've been watching some old videos lately and Jimmy Day used a three-finger approach to single-string work. Basically the thumb, index, and middle were used sequentially without as much cross-over as Jeff, Buddy or Lloyd Green would use. Lloyd Green uses thumb-middle almost exclusively, it seems.

When using T-M, the index finger is held in the air out of the way. When using T-I, the middle finger is in a position making it more available to drop down and play a note higher than the one the index finger is playing if needed. This in itself makes the technique more efficient, it seems to me.

Finger/pick blockers seem to favor the T-I-M approach. I'm an old-timer like Bill Stafford refers to, but I've been trying to integrate the index more into my playing by using the Jimmy Day approach. I haven't gotten to pick blocking yet.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

Whenever there's a gap of one or more strings in the grip, I'll use T/M. For adjacent strings, T/I works better for me. YMMV.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

Personally, I'll bet that any supposedly objective difference in speed will be almost imperceptible, and that it will make a much bigger difference what finger is better trained, and how your hand is built. I can see the benefit in knowing which finger should be the one you train on, though.

Personally, I play with three fingerpicks and a thumbpick, and which finger I cross over with depends on the phrasing I want and where I need to end up. That might be wrong, but I like to think that I'm ultimately training all the fingers to work fast. Call it the slow, hard path.

Ernie Pollock http://www.hereintown.net/~shobud75/stock.htm

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Emmons D10 8/4 P/P -75'
Fessenden SD-10 3/5
MSA SD-12 4/4 - 76'
76'Session 400
86'Nashville 400
Bandit 112

Hate to disagree with anything Jeff said, but if you make all your fingers carry the load, they get used to it and it becomes second nature.

Also a factor is what rythmic pattern are you using, fast 2/4, or triplets?

I pickblock a lot more as it's more related to the "fingertip blocking" I'm used to as a bassplayer. When doing so I have a tendency to use T-I on a more frequent basis.

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Klaus Caprani

MCI RangeXpander S-10 3x4
www.klauscaprani.com

What I play before a phrase, and what I hope to play after, determines the picking combinations I'll use for a phrase.

I practice playing ALL single note phrases using many various picking combinations. I usually find some combinations easier than others but I don't accept that as a reason for not commiting to memory the more difficult combinations for the same phrase. I believe that speed is never the issue while learning. My only concern when I practice is technical accuracy. The speed always delivers itself down the road, once everything I've learned is memorized beyond any thought.

Memorizing licks using only the easiest picking pattern leaves me unprepared for the situations when the last phrase I played takes me completely out of position for the next phrase. If I want to play freely and efficiently through those two phrases, I have to develop an independence from the school of thought that says to me "there's only one way I can pick each of these rapid phrases."

There's one thing for sure about improvising. I never know what technique and knowledge I'll need until its too late and the demon of mistakes bites me in the ...! Ofcourse everyone knows "Amp" is the implied word.

Paul

[This message was edited by Franklin on 10 April 2005 at 07:09 AM.]

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My Website..... www.cmedic.net/~almarcus/

I totally disagree with using either t-1 or t-2. In my world they are both options. I could not play the way I do with only two fingers.

I use three finger picks and have the following at my physical disposal at any time:

T-1 alt
t-2 alt
t-3 alt
1-2 alt
1-3 alt

I also have numerous crossovers that I don't call crossovers!! I just make moves in different positions. I do forward rolls using t-1-2-3 on strings 12 thru 8. That is a closed grip in position 12. I can then move to position 8 and do the same move. A four finger crossover. You can apply the same theory to two, three or four finger crossovers.

Another thought on this topic is not the fingers but how much of the wrist and forearm. Lots of players hit the wall on speed because they are moving too many body parts.

I have books and DVD's on this subject where I break down all the required moves.

one of my favortite moves is alternating t-1, t-2, t-3 one after the other. I place my fingers on the strings and let each finger have its own string to play. I then just change position.

I really do think it's an individual thing for each player. One size surely doesn't fit all and there are alot of different shapes of hands out there.

I've always favored T and Index when using two fingers as it just felt and came natural to me. But the M finger is always in there ready as well. It all depends on the string groups and following positions so all three are ready.

I know that I change patterns often without even realizing I'm doing so. Last year we did a live CD/DVD with Commander Cody and the first night was used as a rehearsal for the camera crew. When I watched the playback from the rehearsal I noticed myself playing a certain C6 single string part on a ride with T-I. When I watched the final product which was recorded the following night I played the exact same part using T-M. I hadn't thought about doing it one way or the other on either night. It worked and sounded the same both times. It surprised me a little and I kinda' got a kick out of it. Now, whenever I play that part live I have a little fun with it before it comes up and try to decide which pattern I want to use this time.

Wish I could get 'em untied now.