Left Hand Technique

Bones

Have there been any posts on proper left hand technique relative to speed, tone, and avoiding injury? The book doesn't cover this and I know that most of the focus in this style is on the right hand.

Elliot

That's a good point, it really isn't mentioned much. I'd say the main rules I've been going by is no gripping, no clenching, and no hard pressing. Now that I think about it, my ex girlfriend used to say the same thing....

But anyway, the technique and the guitar itself are both meant for speed, and so the relatively flat fingerboard and low frets means keeping your fingers loose and to only apply the minimum pressure required to get a good note. Playing quickly demands that one uses the greatest economy of movement, and people like Debarre use the smallest amount of distance to get their fingers where they need to go, looking like his hands are "hovering" over each position.

If I keep this stuff in mind playing becomes easier, and it helps me not to go back to the neck choking style I use to use to play Blues, and managed to avoid with my ex.
Hope that helps.

MichaelHorowitz

The book explains the two positions used by the left hand: the thumb position and the classic position.

Other then that, the same sort of principals apply. Stay relaxed by trying not to press too hard. Getting a clean chordal sound is more about timing and accurate positioning then strength.

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Bones

Wow, that was fast! Good morning.

That's great info. Thanks!

PS- I should give credit where credit is due and note that the book, obviously, covers left fingerings which is VERY helpful (and mostly non-existent in most other instructional books that I have seen in ALL genres, not just GJ)

Bones

PPS- Michael, I see that you talk about the left hand position in the rhythm book. I was referring specifically to single note technique.

a

there are several things to consider with the left hand- depending on how many fingers you use. one of the cool things about django was that he really knew the guitar neck with only two fingers. if the goal is to reach the highest possible level of relaxation, it is important to pick fingerings that will require the least amount of energy. sometimes it takes more energy to stretch your third or fourth finger than it does to just use your first two fingers and your wrist to slide around the neck.

by energy, i include the actual energy it takes to move your fingers, and the energy that is used in your brain to focus or concentrate. the more stress, the more energy/concentration is diverted from the music. while you're focusing on making a nearly impossible stretch, and the accompanying pain, you might be missing musical thoughts. this why being relaxed is so important.

i think it takes less energy to move positions more (like django) than it does to have your fingers pull your wrist around. However, it takes a lot of practice to get used to throwing your hand around. it's a bit like what trombone, bass, or cello players do.

i tend to only use my third and fourth fingers for extensions (and i'm trying to figure out and practice ways to not have to use them at all). i want to know the guitar neck with my whole arm, not just my fingers.

also, i think it's easier to make quick decisions when you have fewer choices (in this case, two options vs. four). maybe this can help when improvising with more than pre-learned phrases. also, only using two fingers might be able to help dampen the wanking/shredding element a little.

of course, there are moments to wank, and there are definitely times to use all fingers. but, whenever i learn a django phrase, i always learn it with two.

jmcgann

When playing an ascending line on a string, leave all the fingers down as you go up. It's way more efficient than lifting each finger after the new one comes down.

This is a major piece of stringed instrument technique.

aRealGypsy

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Bones

a,

I know what you mean about the 2 finger approach and too many choices. I've pretty much limited myself to 3 also because my pinky is pretty weak although I will use it occasionally.

jmc,

That makes good sense. Do you think that this would apply also to example 2.2 in the book, i.e. would you leave the 1st finger down when placing the 2nd and ALSO during the 2nd finger slide on the ascending chromatic run? Now that I think about it I think I leave it down when placing the 2nd finger but allow it to come up for the slide.

Great info guys!

a

one more thing..

use first finger to start whenever you change positions.

vince

I find myself sometimes holding my entire first finger down when sweep picking a horizontal bar of notes. I've noticed it slows my playing, but moving my first finger to each fret takes more time. An example would be:

----------------
----------------
----------4-5--
--------2------
-------2-------
---2-3---------

I use my first finger barred to hit both the B and the second E. Is this how other folks would do it?

Vince