GETTING BETTER AT BASS INVOLVES DIGESTING HUGE AMOUNTS OF new information, but it’s just as important to unlearn the bad stuff. Most of us picked up the bass without much initial guidance, and even though subsequent study can illuminate a better path, our individual approach is often cemented in those early moments of discovery. One extraordinarily common habit is to rest the forearm on the bass’s body, like in Fig. 1. I do it almost all the time if I’m playing with a traditional fingerstyle technique. Unfortunately, this is a perfect recipe for carpal tunnel syndrome, a painful condition that occurs when the passageway of bone and ligament at the base of the wrist compresses the median nerve. If that weren’t scary enough, the forearm muscles weakened position seems to rob the plucking hand of strength. Try the approach in Fig. 2, lifting the forearm off the bass. For me, it feels a little awkward, but I believe it’s technically a better option.
Technique Tip Fingertip Talk
IT WOULD SEEM THAT WITH JUST FIVE fingers and 4-6 strings (oh, alright, sometimes more), there’d be a relatively short list of potential right-hand techniques. But if there’s one thing my incessant Lockup on MSNBC habit has taught me, necessity breeds invention. Take the Funk Brother himself, James Jamerson. Everyone knows that he played all that phenomenally dexterous stuff with just one finger, “the Hook,” as it came to be known. We’ve all wondered how he pulled it off, but sitting in on the Motown mastertape listening session for this month’s cover story made this question more urgent than ever. With Jamerson’s tracks soloed, the near physical impossibility of some lines was striking. So, capitalizing on the rare opportunity, I asked fellow listener James Jamerson Jr. Sure enough, James confirmed what I long thought: On uptempo tunes, Jamerson Sr. would occasionally pluck with both sides of the Hook—fingerpad and fingernail, like in Figs. 1 and 2. It was a rare occurrence, but ap