In this column, I’ll be sharing exercises that will improve your speed and dexterity, and I’ll introduce techniques that will add new textures and colors to your phrasing. Before we get started, however, I must first offer a disclaimer. These exercises are designed solely for the purpose of improving technique. By continuing on, you accept the responsibility of making the music your priority on the gig and in the studio, and recognize that you are to practice these exercises for technique’s sake only!

Focus Forms

Let’s start with some dexterity exercises that utilize what I refer to as “Focus Forms.” Focus Forms are nothing more than repetitive drills targeting a particular technical challenge. They usually involve shorter phrases that force a larger number of repetitions, much like lighter weights combined with higher repetitions in a workout routine. These are designed to coordinate the mind and hands in a rapid-fire approach that develops muscle memory in short time. Focus forms can be made up of scale or arpeggio fragments, geometric forms, or other combinations of notes that help to accomplish this goal.

The following exercises aim to improve the alternation of your plucking fingers. Alternation is an effective way to bring more economy of motion into your technique, because it splits the workload evenly among your plucking fingers. Alternation can have a huge impact on your dexterity and speed. To add another layer of difficulty, we are going to focus on string transitions while maintaining alternate fingering. A lot of players stumble with alternate fingering consistency as they transition from one string to another, especially when they have to skip strings to reach the next note. The result is a sacrifice in execution, smoothness, or speed, especially at higher tempos.

The great thing about technique drills like these is that the rewards begin to surface in your performances automatically because of the muscle memory you developed in your practice sessions. (Remember: You do not want to be consciously contemplating your technique during a performance!)

In each of our exercises, we’ll be assigning the following numbers to the fingers of the plucking hand (Fig. 1). Most of the alternation exercises we work on will utilize fingers 1 and 2 of the plucking hand only. Of course, you could also adapt these exercises to work with an approach involving three (or even four!) fingers. Just use your imagination as you explore the options.

Finally, some tips to consider before we begin:

• To maintain accurate timing and rhythmic stability, practice each of these exercises using an external clock source such as a drum machine or metronome.
• As you alternate, make sure the dynamics between the two plucking fingers are equal. You don’t want one finger to play ‘heavier’ than the other.
• Practice each of these exercises a second time, starting with finger 2 instead of finger 1. This will get you used to starting phrases with a different lead finger, and will allow you to more spontaneously adapt to fingerboard challenges without stumbling.

Until next time, practice hard, and keep it bassy!

Adam Nitti currently plays and tours with Steven Curtis Chapman. He is also the Chief Learning Officer at musicdojo.com, an online music instruction site. Adam's latest solo CD, Evidence, was released on his Renaissance Man label. www.adamnitti.com.