three fingers technique

[Christian Miller]

I mean ... this is pretty obviously untrue though, right? People say this about the guitar all the time, just because you don't have to reinvent the wheel in every key like you do with some instruments, but there aren't no differences between keys. Sort of like how you mention "unless you're working on where you will shift positions." Because shifting positions would be a pretty essential part of fingering technique. Also it sounds like when you're referring to shifting positions, you're talking about switching string-sets, which wouldn't be the same thing. Part of keeping yourself on one set of strings is that it forces you to shift positions a lot more than you might otherwise.

And from there, it matters were those transitions happen because of the spacing of the frets. Playing guitar doesn't feel the same on low strings as on high. etc etc.

That's sort of like telling a trumpet player that a series of notes up above the staff is the same as a series of notes below the staff because they're using the same fingerings.

Daddy’s rule #495747 of guitar, If you’re still thinking about shifting positions you aren’t shifting enough.


Sent from my iPhone using Tapatalk

[Boss Man Zwiebelsohn]

It is different for everyone, but I have 4 fingers and use them all. I find in fact I use my ring and pinky quite a bit. Now I am not Wes or George but might as well use them all that is why they are present. Just look at Adam Rogers and I dig his sound and phrasing. But of course, can't do it like him. Never really thought about just using 3 fingers and not pinky it could get weak?

No, it won't get weak because I need and use it for chords.

[Christian Miller]

I’ve been using it for decades and it’s still bad. No hope for this silly flappy guy.


Sent from my iPhone using Tapatalk

[Christian Miller]

Now he’s upset and says he won’t help me play Bach inventions any more.

What have I done?

Seriously, one size does not fit all.

A technique designed to facilitate the execution polyphonic music is not necessarily best for purely melodic playing. Actually I think classical players do understand this.

Furthermore; rhythm guitar and muting. There’s a continuum between that and single note jazz playing.


Sent from my iPhone using Tapatalk

[pamosmusic]

I guess I'm just not convinced that practicing playing on string pairs would be useful to me. What has it done for you?

Makes me more creative with fingerings and less tied to pre-set positions and fingerings. Definitely more melodic because I have to think more about the intervals and melodies I want than the patterns I want to play. And, of course, much better at shifting––i.e. more intuitive with it, or to put it Christian's way, after a while I can do all my position practice and still just not really think much about shifting. Second nature now or whatever. For what it's worth, a lot of the technical benefit for me is because I am a very very position-oriented player when I practice technique. Which I think as had huge benefits for me, but I also have to spend substantial time correcting for the weak spots in that kind of playing. The musical benefits I think are probably worth it regardless.

I got The Advancing Guitarist when I was sixteen and have been doing it as a pretty significant part of my practice ever since. To hear Mick (Goodrick) describe it in its most absurd form:

"Why would you play up and down one string with only one finger? Because you'd learn things that can't be learned any other way. This type of approach is what I call 'disadvantage exercises.' By deliberately working within the confine of a particular limitation [...], we can learn much. Some people might ask, 'why bother playing with only one finger when you've got four? You can't play much with one finger anyway!' But the question is really, 'How much can you play with one finger and what could you learn?'"

[charlieparker]

I've been experimenting with using only 3 fingers one thing I'm finding is that it's much easier to play on the top 4 strings. And I find I have to move my thumb a bit under the neck with three fingers on the lower strings.

Do others find this? Briefly watching some other three finger players it looks like they mainly use the top strings also.

[pauln]

I'm still interpreting the different arguments as between those who play the finger board and those who play fingerings...

[Mick-7]

I've been experimenting with using only 3 fingers one thing I'm finding is that it's much easier to play on the top 4 strings. And I find I have to move my thumb a bit under the neck with three fingers on the lower strings.

Do others find this? Briefly watching some other three finger players it looks like they mainly use the top strings also.

"Do others find this?"

No, it's all the same to me.

Thank you, Peter, I've never been position oriented, no doubt why I'm skeptical about this exercise. Reminds me of a high school class where the teacher had us wear blindfolds and walk around the school, so that we had to rely on our other senses to "see" where we were going.

I'm still interpreting the different arguments as between those who play the finger board and those who play fingerings...

I do think that consistency in fingerings is important, whatever approach you use, without it you'll have trouble playing horizontally on the fretboard (or at least doing it fluidly).

[Christian Miller]

I've been experimenting with using only 3 fingers one thing I'm finding is that it's much easier to play on the top 4 strings. And I find I have to move my thumb a bit under the neck with three fingers on the lower strings.

Do others find this? Briefly watching some other three finger players it looks like they mainly use the top strings also.

Depends on the degree of pronation of your left hand, how high you place your thumb over the neck (or behind) and, naturally, how much shifting you do.

[Christian Miller]

"Do others find this?"

No, it's all the same to me.

Thank you, Peter, I've never been position oriented, no doubt why I'm skeptical about this exercise. Reminds me of a high school class where the teacher had us wear blindfolds and walk around the school, so that we had to rely on our other senses to "see" where we were going.



I do think that consistency in fingerings is important, whatever approach you use, without it you'll have trouble playing horizontally on the fretboard (or at least doing it fluidly).

If the student was a beginner or an intermediate, I would absolutely insist on consistent fingering until muscle memory was securely built. This perhaps is the biggest advantage of practicing scales and so on. If you struggle technically to play the instrument and consistently execute scales and so on at reasonable speeds, I think this type of practice is an absolute must.

(And to this day, I still find myself learning stuff that needs to internalised in this way - so it's not linear.)

OTOH, what is good advice for a beginner is not necessarily good advice for the advanced player. If you have a good physical knowledge of the material in question you can move from stereotyped, mechanical practice into approaches that build more flexibility. In fact it's probably a must to stop being stuck in a rut.

I do wonder if many players persist with practice habits appropriate to beginners and intermediate players long after they are useful or relevant - myself most of all.

See also 'the Advancing Guitarist' and Mick Goodrick's suggestions.