ACOUSTICTREATMENTS
BY DOUG DOPPLER
LESS AND MORE
DYNAMICS & TECHNIQUE
Creating and shaping atmosphere is part of what
I love most about playing acoustic at church.
Dynamics play a huge role in all of this, as do the
underlying techniques used to create them.
Whether using our fingers, hybrid picking, or just
a pick, when we play the notes of a chord one
at a time, we are arpeggiating that chord. These
three techniques deliver unique textures largely
because of the variation in string attack. Mastering
how we attack the strings is a big part of what
keeps us from being swallowed by the band in
the mix. This is also a brilliant way to create subtle
shifts in atmosphere to better support vocalists as
FINGERPICKING
The rest is based on comfort in terms of making
they lead the congregation deeper into worship.
The first staves in Fig. 3 utilize fingerpicking. I’d
the part feel good to my right hand.
suggest using your thumb (denoted by a T on
As guitarists, we tend to practice one technique
the chart) to pluck the Low E, A, and D strings,
PUTTING IT ALL TOGETHER
at a time, which makes sense most of the
and your 1 , 2 and 3 fingers on the G, B, and
Each of these techniques is pretty straightforward.
time. That said, there are times on the platform
High E strings.
Toggling between palming the pick and hybrid
st
nd
rd
where changing dynamics is tied to our ability to
picking in real time on the other hand takes a bit
smoothly toggle between multiple techniques.
HYBRID PICKING
This installment of Acoustic Treatment is designed
The second set of staves in Fig. 3 use the pick
In the video I’ll go over some tips on how to piece
to help you do this in a musical way!
nd
on the Low E, A, and D strings, and your 1 , 2
this together. Once you’ve got this transition
and 3rd fingers on the G, B, and High E strings.
under your fingertips, I’d suggest looping the first
TOGGLING
This sound is one of my favorites because you
four measures two times quietly. Then without
Seamlessly toggling between fingerpicking and
get lots of articulation on the bass strings, and the
losing time, loop the second four measures a
using the pick can take a bit of getting used to.
warmth of your fingertips on the treble strings.
bit louder, followed by the last four measures
of getting used to, as does the shift in dynamics.
st
As demonstrated in the companion video and
a bit louder again. I’d suggest going back to
Fig. 1, my preferred method for palming the pick
ALTERNATE PICKING
the measures five through eight, before hitting
involves holding it gently between the first and
In looking at Fig. 3 I’m not truly alternating pick
measures one throug h four. The end result will be
second fingers. I’ve found this to be the most
strokes, but I’m not just using down strokes either.
toggling between these three techniques, while
effective way to toggle between fingerpicking
Years ago Joe Satriani taught me to arpeggiate
incrementally building and then decreasing the
and using the pick in real time, with the least
triads by using two down strokes followed by an
dynamics. Let’s do it!
probability of fumbling the pick.
upstroke, which is how I start the picking off here.
Fig. 1
40
Fig. 2
Nov Dec 2016
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