Beginner 3 Finger Picking For Bass (Billy Sheehan and Alex Webster)

Main ideas / lessons

• Three-finger picking expands speed and range of playable bass lines beyond what’s practical with only one finger.
• Many beginners start with one or two fingers, but as tempos and complexity increase, adding more fingers helps execution.
• Three-finger picking is common in rock/metal for speed and consistency (not limited to a single style).
• You don’t have to use three fingers exclusively to get speed—some top players use two fingers, and others mix techniques.
• Core technical concept: use rest-stroke mechanics plus a consistent finger order to cycle notes smoothly.
• Training strategy: practice with specific rhythmic groupings (3s, then 4s), plus scalar/linear exercises to build coordination and control.
• Rhythmic feel tip: when shifting to groups of four, focus first on unaccented notes to avoid disrupting the groove.
• Coordination matters most in more linear exercises (sync between fretting hand and plucking hand).

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Method / instruction breakdown (exercises and how to practice)

1) Core three-finger technique (rest stroke)

• Common finger order: ring–middle–index (i.e., 3-2-1).
• Movement pattern: similar to standard rest-stroke, but with three fingers cycling:
  • Each plucked note/finger returns to rest at the thumb / next string.
• Basic example described:
  • Play a note (e.g., E string, 5th fret) using the cycle 3-2-1.
  • Move to another note (e.g., A string, 5th fret) while maintaining the thumb/rest action.

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2) Exercise: sixteenth-note triplets (6 notes per beat)

• Rhythm: “six tuplets” / sixteenth-note triplets.
• Structure:
  • Play 2 bars on E string, 7th fret.
  • Then play 2 bars on D string, 5th fret.
• Practice steps:
  • Start very slowly, focusing on:
    • consistent rhythm
    • correct three-finger motion
  • Gradually increase tempo until matching a faster target performance.

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3) Exercise: triplet rhythm on a C minor scale (D & G strings)

• Rhythm: same 16th-note triplet grouping.
• Scales/notes concept (as described):
  • Build through C minor across D and G strings, including:
    • rising C minor (with flats implied)
    • descending segments
    • a harmonic-minor style ending (as referenced)
• How to play:
  • For each scale note, add three plucks (one triplet per pitch).
• Practice steps:
  • Start slowly, then build up speed while keeping the grouping clean.

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4) Exercise: Steve Harris–style gallop feel using three fingers

• Rhythm: eighth note + two sixteenth notes (gallop).
• Example starting point:
  • Begin with a note such as D on A string (5th fret).
• Picking cycle:
  • Use the three-finger cycle so the repeated pattern feels like:
    • the first pluck starts the cycle, then 3-2-1 continues.
• Simple bass-line example given:
  • Move between notes D–C–A–C, with each note held for one bar.
• Main difficulty to watch:
  • String-shifting (especially A string ↔ E string and back).
  • Emphasize correct finger landing during shifts to prevent “finger twisting,” e.g.:
    • you may land with different fingers on different strings (index vs ring) and must move the hand cleanly.

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5) Exercise: groups of four using unaccented notes first

• Problem addressed:
  • Playing straight eighths/sixteenths with three-finger cycling creates changing “lead” fingers.
• Key instruction:
  • Practice unaccented first so the groove stays consistent.
  • Only after evenness improves should you add accents.
• Example: straight eighth notes
  • Play straight eighths on E string, 7th fret (count 1-2-3-4 with even timing).
• Lead-finger switching (expected behavior):
  • As you move through 3s inside 4s, the “lead” finger switches (3rd → 2nd → 1st, etc.) each downbeat.
  • Don’t fight it at first—use unaccented practice so switching becomes automatic.
• How to add accents:
  • Once timing is stable, place accents where desired without reworking the technique.

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6) Exercise: scalar/linear one-note-per-finger work (coordination)

A) C minor scalar line (triplet rhythm, one note per finger)

• Rhythm: triplet feel with no note repetition (one pitch per finger action).
• Example described:
  • Move up the first four notes of C minor:
    • C → D → E♭ → F
    • (locations given like 10th/12th/13th frets on D string, then 10th fret on G)
• Technique focus:
  • Use specific fingers indicated (e.g., 3rd–2nd–1st, then finishing with 2nd).
• Practice steps:
  • Go extremely slowly.
  • Ensure both hands are in sync.
  • If you get messy, reduce speed to regain coordination.
  • Then move the exercise chromatically up and down the neck.

B) Add more strings: E minor scale up (triplet rhythm)

• Scale example: E minor up through:
  • E → F♯ → G → A → B → C → D (finish also described on the G string)
• Fretting locations referenced:
  • notes across A / D / G strings.
• Picking pattern focus:
  • maintain the three-finger cycle (3-2-1) while moving string-to-string cleanly.
• Practice steps:
  • Start slow, then gradually increase speed while maintaining synchronization.

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Speaker/source list

• Mark (host; “hi again mark here from talking bass”)
• Mentioned bassists (sources/examples):
  • Billy Sheehan
  • Alex Webster
  • John Myung
  • Steve Bailey
  • Adrian Feraud
  • Steve Harris