Jernigan's Ring Finger

[Bill McCloskey]

Just received my latest lessons from Doug Jernigan's Patreon page. (very worthwhile, lessons in C6 and E9 about once a week. you can subscribe to just c6 as well).

And I once again wondered at Doug's ring finger, which clutches the top string and never moves unless he is playing the top string. Then the ring finger goes right back on like a vice grip. I play with 4 picks so I could never use this technique. And unlike Jeff Newman who teaches to move the whole hand north and south on the fret, Jernigan uses his ring finger as an anchor so he never moves positions, just the thumb and two fingers.

Anyone else play this way? Is this the way Doug teaches?

[Danny Letz]

Some people anchor their little finger on the first string. I think they probably do it to help keep their hand in place for accuracy in striking the strings?????

[Dave Grafe]

Some people anchor their little finger on the first string. I think they probably do it to help keep their hand in place for accuracy in striking the strings?????

I use a thumb and three finger picks, and my pinky resting on string 1 tends to be both an anchor and a blocking tool. Early on it was mostly about steadying my right hand, and as my hand technique has developed I use it more now for blocking strings 1+2, although it remains a good no-look reference for the rest of my hand relative to the strings when things get going.

[Bill McCloskey]

Since I also play with 4 picks, I'll give that a try Dave.

[Bobby D. Jones]

Your hand needs some type of anchor point, To keep picking fingers and thumb in the same position to start movement from. Some players use ring finger or little finger on 1st string for anchor. Some players us a wrist pad on guitar as an anchor point. As they say, "Different strokes for different folks".

[Dave Magram]

Bill,

Joe Wright, who "pick-blocks" (more accurately "fingertip-blocks") uses a thumbpick and three fingerpicks, and as you probably know, is a master steel guitar player.

Joe used to sell a videotape (later a DVD) that thoroughly explained how to "fingertip-block" the way he does it, but a couple of years ago he posted all of his teaching material online for anyone to use free of charge!

I have forgotten where they are posted, but I'm sure you can find it in a search of the SGF.

After palm-blocking for many years, it took me about 6 or 8 weeks to learn how to fingertip-block.
It's not that fingertip-blocking is very difficult--it's just very different from palm-blocking.
If you haven't been palm-blocking very long, it might be easier to learn how to fingertip-block.

Joe's excellent videotape was a big help--and now it is available for free, thanks to Joe Wright's exceptional generosity.

- Dave

[Fred Treece]

Free Videos & E-books
https://www.pedalsteel.com/prt/members/index.shtml

[Bill McCloskey]

Dave, I'm very aware of Joe Wright's methods. In fact I was practicing his Basic 15 today. And I learned how to pick block from some of his instructional material 10 years ago. I agree: great stuff and so generous that he makes it available.

I've never used an anchor, at least no consciously. Years of playing a 12 string eharp tuning got me pretty use to hitting weird brips all over the fret.

I'll try anchoring though and see how I like it.

[Bill McCloskey]

I just paid attention to what I am doing. My pinky lays flat on the strings and it looks like I do naturally grap on to a string with my pinky. But it changes depending where I'm playing on the fret. less of a guide and more of a way to provide leverage to get some more snap when I pluck the strings.

I should film myself more often when I do youtube videos I notice that my pinky on my left hand always goes up in the air and actually is a direct expression of the emotion I'm feeling when i play. I'm completely unconscious that I do it.

[Bobby D. Jones]

It is funny when you are in a video you become your own worst critic. You don't realize what you are doing till you can see yourself actually doing it.

[J D Sauser]

Just received my latest lessons from Doug Jernigan's Patreon page. (very worthwhile, lessons in C6 and E9 about once a week. you can subscribe to just c6 as well).

And I once again wondered at Doug's ring finger, which clutches the top string and never moves unless he is playing the top string. Then the ring finger goes right back on like a vice grip. I play with 4 picks so I could never use this technique. And unlike Jeff Newman who teaches to move the whole hand north and south on the fret, Jernigan uses his ring finger as an anchor so he never moves positions, just the thumb and two fingers.

Anyone else play this way? Is this the way Doug teaches?

Some of the greatest musicians often have one or more aspects of their technique which is un-orthodox and maybe not even recomendable. In most cases though, it's not the key to the secret of their excellence.

BE had his pinky under the string but his hand visibly moved back and forth.

Jeff like Maurice, both renowned teachers and both 12-string players and both HAD to move their hand over that bank. One can't possibly reach all 12 strings from one position. I think that there is nothing which can be said against Jeff Newman's "Right Hand Alpha" (video course which is on youtube).
With 10 strings alone (like that was few!), I think it would be sound advice to new players to make sure the move the picking hand back and forth over the strings to maintain a constant picking technique.

I tried Jo Wright's "claw" picking style. While I came away from trying, keeping a 3rd finger pick (besides thumb), it kept feeling too awkward to me... maybe because I had played for a long time with a more "traditional" hand position.
For a new player, I would certainly suggest to give it a serious try.

Doug Jernigan is one of the nicest and most generous guys I have ever met. A true Gentleman too!

... J-D.

[Danny Letz]

I have trouble finding the correct words for what I’m trying to say sometime. Perhaps anchor was not as good as, locate, steady, etc. I think placing that finger on a certain place probably gives a reference point for accuracy. I’m not that familiar with button acordians but isn’t there a different shaped, colored, dimpled or something button to locate your fingers by feel??? Braille sort of a thing. Same kind of principal.

[J D Sauser]

I have trouble finding the correct words for what I’m trying to say sometime. Perhaps anchor was not as good as, locate, steady, etc. I think placing that finger on a certain place probably gives a reference point for accuracy. I’m not that familiar with button acordians but isn’t there a different shaped, colored, dimpled or something button to locate your fingers by feel??? Braille sort of a thing. Same kind of principal.

Yes, it is “braille” by feel. One ought to just “still”-practice grips and watch the strings moving ever so slughtly on the left, just in front of the bar. To ME a key reference point is the last wound string into the plain strings. So, it’s visual too.
But, besides the feel of the strings, I would not want to seek a physical “anchor”.
Think of a harp player!

… JD.

[Henry Matthews]

Why do some of y’all play with 4 picks? I think that last one just get in the way of blocking and picking.

[J D Sauser]

Why do some of y’all play with 4 picks? I think that last one just get in the way of blocking and picking.

Decades ago I was told "it was a Texas thang!"

Someone had asked Tom Morrell (back when he played with pedals) how he'd get all them chords and he just held up his right hand up with a big smirk.
Maurice told me something similar and advised me that I would need to get used to a 3rd pick.

BESIDES Jo Wright's unique "claw" technique, I believe most used it for picking complex chords in a more selective manner than "2picks + thumb rake". This allows you not only to use more spread-voicings which are important in Jazz and also the very core of Bossa Nova and other more modern styles leading into Soul and NeoSoul, but also to construct chords or chord fragments out of what would usually be seen as "avoid-notes", thus having the answer to "where do you get them chords from?"

I can't say that I pick-block only, I need my palm too and my thumb also. Does it como "in the way?"... it's as clumsy as it was to put ANY pick on on day one. To me, at 55 when I added that 3rd pick, it was yet another of these -what I call a- 3 month event... First it's like it's NEVER going to happen, but at 2 months, there's a light on the horizon and by sheer luck no mushroom cloud followed. I would not want to give it up but I understand that it's not need for the most common playing styles.
But it's an entirely different picking technique for also a different approach to a yet again different type of music. I don't see much need to do it on E9th playing it in it's most natural styles.


... J-D.

[Dennis Detweiler]

I might be wrong about this, but I think Tommy White played with 3 finger picks in his younger days at the ISGC? If so, he would have an answer why he eventually eliminated the ring finger pick. I'm guessing, because of the pick angle of attack and easier blocking?

[Greg Vincent]

I like three fingerpicks for faking C6 on E9, where often there are strings you need to skip over in order to grab a desired four-note extended chord.

https://youtu.be/ItUgIZfTCSc?si=MIzAQvAZSKvWrqws

[Bill McCloskey]

While many don’t realize it, Eddie Alkire’s Eharp was a play on the Hawaiian word for 4: Eha. He called it that because it requires 4 picks. Since that is the way I learned, I still play with 4 picks and wound never go back.

[Roger Rettig]

Bill:

As I discovered after posting my own thread:

Doug's course isn't available in 'just C6th', but 'just E9th'. E9 = $10 per month, E9/C6 = $18.

It's good value, but I've come to the conclusion that, for me, figuring things out for myself beats learning anything 'by rote'. I'm through with subscribing to courses, regardless of how accomplished the hosts might be.

Danny Letz:
I'd call it 'anchoring' but, whatever it is, I have only recently begun hooking my little finger over the first string. Once I became accustomed to the new discipline and the slight change in position, I find my accuracy and attack have improved no end!!

I wish I'd done this fifty years ago. I have found that I'm 'index-dominant' - on steel! On guitar, I use Thumb-and-second. However, this new anchor-method permits use of either 1 or 2 along with the thumb.

It has also calmed down my destructive 'flying right thumb'; this method keeps my hand where it needs to be.

[Casey Saulpaugh]

Although it is a slightly different type of anchoring, I like to use my ring finger as an anchor on the string above whatever strings I’m picking - basically, the ring finger always rests on and mutes the string above my middle finger.

I originally learned this from something Buddy Emmons wrote (I believe it was a forum post here) about his right hand technique. After trying it out and practicing it years ago, it has become ingrained and is very helpful.

It automatically blocks the two strings above whatever strings you’re picking, allows your hand to maintain the same picking position/consistency as you shift between string groups with your right hand, and it removes tension in the fingers/hand. A bonus of this - if you ever want to add a pick to your ring finger, it will already always be in the right position to being playing the string above your middle finger.

I also find it helpful to have my pinky extended towards the 1st string, so that it loosely rests/anchors there. I don’t actually grab the string with it, as I like having it relaxed/free so that I can shift positions with my right hand without adding tension. It also blocks higher strings which is nice and allows for a nice, comfortable angle for the hand and picks to meet the strings.