are using the traditional p–i–m–a notation
for the plucking hand where p is for the
thumb, i is for index, m is for middle, and a
is for the ring finger.
The other menu, which is slightly more
expansive, consists of alternating bass patterns, including two types of rolls, pinch
patterns, and pairings of fingers. In Fig. 3,
we combine an inside roll with a forward
roll. If you look at the first two beats of
each measure, you can see how we pluck the
2nd and 5th strings before moving “inside”
to hit the 4th and 3rd strings. In the second
half of the measure we begin with the 5th
and 3rd strings before moving “forward”
onto the 4th and 2nd strings.
We begin to develop multiple patterns
with multiple voices in Fig. 4. By using
your m and a fingers for the melody, you are
able to keep the upper voice ringing while
p and i keep the accompaniment going. I
call these “pinch” patterns because there is a
pinching motion between your thumb and
your middle or ring fingers. Fig. 5 is a varia-
tion on the forward roll, but here we add an
additional note in order to practice moving
our fingers in specific groupings.
m–i and then use a on the 1st string. When
going the other direction, I use m–a.
It’s that simple. This exercise should
demonstrate that each finger can stay close
to its home base. Just to test the theory,
try plucking with the same finger twice in
a row, pick up speed, and watch, or better
yet, feel what happens. This method can
be done with any chord, on any groups of
strings, in any tuning, and with any style
of music.
When learning a new piece, I often refer
to my approach as tapping, clapping, and
mapping. It’s a method of first tapping out
the rhythms on a table using a metronome
as my guide, then clapping the rhythm
with my hands, and finally mapping out
the intended choice of fingerings for both
hands. Similar to programming a computer,
my hands now seem to know what to do
automatically. As you polish up your fingerpicking engine, always inspect each measure, one at a time, to make sure no details
have been missed. That is what separates the
good pickers from the great ones.
Fig. 4
Fig. 5
™ ™ 44 &
C
oe
˙
G
p
m
™
™˙ 3
1
pipa
oeoeoe˙
0
G
˙
pi
p
a
oeoe
3
pi
p
m
oeoeoe˙
0
™™ oe oe
™ ™ 44 &
C
oe
oeoe
oeoe
™™ oeoe
pi
pipma
0
0
0
0
2
2
0
™
™ 0
0
™
™
pmp i a
oe
0
3
0
0
3
3
3
™
™
p i pmpmp i
˙
aa
3
0
2
1
0
3
1
0
2
0
3
3
Fig. 6
44 &
p
E
imapami
oe
oe oeoe
oe
oeoeoe
pimapami
oe
oeoe oe
oe
oeoeoe
p imapami
oeoeoeoe oe oe
0
0
0
0
0
0
1
1
1
1
1
1
˙
2
2
2
2
2
2
0
0
0
0
0
0
& Fig. 7
™ ™ 4 4
p
E
mi a pma i
oe
oe
oe
oeoe
oeoeoe
™
™˙ 0
0
00
00
1
0
G
oeoeoe
™™ oeoeoe
pm i a pma i
oeoe
3
00
00
™
™0
3
