I would say the coolest technique I've developed lately is the the three-fingered bass technique.

I came up with it about a year and a half ago and it has become an integral part of my playing. It is such a successful way to navigate any bass situation in the 5ths, I cannot speak highly enough of it.

Though it's still relatively new and there is not much published about it, every one of my students who tries it sings its praises and recognizes how much easier it is to play grooving, tonally consistent basslines, and classical counterpoint lines. Jazz, funk, reggae, rock and roll, you name it...

I developed this technique to make playing the Bach Cello Suite prelude easier, and it worked so well I've re-arranged several pieces I play to include it.

The 4th finger is still used for chords in the left hand, but if it's one note at a time, it's three fingers, almost exclusively.

I'm currently working on a book that employs this technique exclusively. More about this soon, very soon.

in the meantime, here it is in action (with a little pinky time in a couple of places, but never in sequence with the 3rd finger, that sequence is what slows things down or makes them sloppy, IMO)

[youtube]http://www.youtube.com/watch?v=kbWkDlPM8oI[/youtube]

That was very nice, Greg. I love the Bach of course, and that's actually one of the few pieces I've seen played on Stick entirely just using the left hand. It actually looks very doable, for all of the nice finger movement back and forth. You of course make it look easy, but I'm a convert of the 3 fingered basslines now in Stick 5ths tuning.

Say Jay, what's preventing you from using those Suzuki books? Or Bartok's lessons for children? The ideal pedagogy for this instrument existed long before the instrument itself.

Mad Monk.

This book was one of the first I learned from when I started playing:



It wasn't hard, even though the bass side had a different tuning. If people can play accordion (Emmett's first instrument, by the way), then dealing with different tunings on the Stick isn't such a big deal.

The only real challenge is close chord voicings in the left hand, definitely something that lead to compromises. Everything else just needs to have a coherent "strategy."

I love Greg's (Stick Enterprises) mean-looking face at the end. Almost as classic as the mean-looking face on the Bouree piece.

Bump to Greg's very fine Bouree piece!

[youtube]http://www.youtube.com/watch?v=Pq7ElueRp6Y[/youtube]

K Rex

That's another good technique, Steve A., my "Stick Face," that I've been working on. I just need to remember to keep my mouth closed, and have that thoughtful, pensive look of the Stickist, Deep into Their Muse.

My Serious Stick Face


World Champion of Expressive Stick Face, Emmett Chapman


And one from Steve A, showing us how rock the Deep Think Stick Face:

Yo, Steve! That pic of Steve says, "IT'S CLOBBERIN' TIME!!!"

Heh,

Kev

Well something cool I just tried today and really made a difference: you know I mostly play sitting right? So, after one year, I'm still on a constant path trying to find the perfect position for my height and hand size. The lap dawg is a wonderful tool but, for me, it never really gives me the angle my body is always looking for. So that un-angled belt hook sounded very appealing (still does, but I still haven't found the time to call SE asking them about it.) anyway, tried playing today with one of those little foot things classical guitars use, raising my left leg and it was like somebody lifted a ton from my left hand: the stick was even more vertical, the wrist was bending even less, and the stick weighted less... Not having to hold it gives me much more freedom and speed on the left hand. Anyway, I'm taking it on my gig tomorrow and see how it goes.
PS
Is there a way we could hold it with just the legs?


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Rodrigo, have you spent any time playing while standing,....with the belt hook and shoulder strap?
Dooder, to me this is most comfortable position...zero energy devoted to holding the instrument, it just hangs there nicely.....personally, I have a hard time sitting and playing....but thats just me, some guys dig it.

Still hoping for a guitar sling approach by Andy Prokyp (sp).....

Excuse the hijack S.A.

cheers,
Gno Gnu Trix

Rodrigo,

The DBro holder (inexpensive wood construct) sits nicely across the lap with the Stick angle controlled entirely by the angled cut-out. The weight distribution is better than with the Lap Dawg, with the detraction that it isn't a tiny object attaching to the back of the Stick. For seated play, it is the most comfortable object I have found. If you don't think the angle is vertical enough, it is simply to just alter the angle on your template and cut another one.