this one finger thing seems to come more natural to me. anybody else prefer this?
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anybody ever use this right hand technique
- Thread starter Metal_prophet83
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- hand right right hand technique
I can't play anything like that guy, but if I'm trying something new or complicated I often find myself picking with one finger.
I do that with four fingers basically. Gives you crazy good endurance, great strength with time of course, and most important of all crazy speed.
I agree. I'm plenty capable of a pick. I am not plenty capable of playing fingerstyle and I wanna be able to do both
Don't like picks. I feel like I have way more control and many more techniques/ sounds at the flip of an angle on my hand. Makes sense for me to get really good at fingerstyle for this genre of music where you can go from fingerstyle to slap to tapping all In a few riffs.
Of course go with whatever feels more natural
Of course go with whatever feels more natural
I watched that one too. so it's definetly not unheard of. I got home and was messing with it and three finger. I see advantages to both. as of now. I'm working on both. I'll see where i end up.
I feel like fingerstyle gives me more freedom. definetly makes string skipping easier (for me) and that's became a large part of my playing.
I feel like fingerstyle gives me more freedom. definetly makes string skipping easier (for me) and that's became a large part of my playing.
I usually play "half" of what the guitars are playing. Keeps the foundation. When matching the guitar on fast picking passages you just cancel yourself out in the mix.
I started to pick up the flamenco style when Geddy started doing it in the early 90's and I wanted to cover Rush songs where he uses this technique... such as "Animate", Alien Shore", "Virtuality", "Limbo", "Secret Touch" and "Far Cry". I mostly do it with my index & middle fingers together but sometimes I use just my index.
It is now a staple of my style and I use it regularly on originals and sometimes on covers that require lots of speed and endurance on single-pitch 16th-note runs (such as on Yes's "Roundabout" in the fast 16ths part late in the song). I also use it when a strumming technique is called for, such as on Tool's "Sober".
This technique doesn't work well for me on fast, intricate passages because things quickly get muddy. The exception is brief fills where I can use hammer-ons and pull-offs to help maintain articulation.
The biggest challenge to learning this style is making your downstroke sound like your upstroke so you have a nice, consistent presentation. This can be a real problem if you keep your fingernails very short.
It is now a staple of my style and I use it regularly on originals and sometimes on covers that require lots of speed and endurance on single-pitch 16th-note runs (such as on Yes's "Roundabout" in the fast 16ths part late in the song). I also use it when a strumming technique is called for, such as on Tool's "Sober".
This technique doesn't work well for me on fast, intricate passages because things quickly get muddy. The exception is brief fills where I can use hammer-ons and pull-offs to help maintain articulation.
The biggest challenge to learning this style is making your downstroke sound like your upstroke so you have a nice, consistent presentation. This can be a real problem if you keep your fingernails very short.
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