by Steve Herberman.

Steve Herberman. Photo by Michael G. Stewart.

Before him, early jazz guitarist George Van Eps was playing ingenious chord solos (first pickstyle and later fingerstyle) but rarely engaging in single-note soloing. In the late 1960’s while Lenny Breau was playing fleet single-note passages with his fingers, or a thumbpick, Joe Pass was perfecting his right-hand technique to the point where he could virtually play an entire solo gig fingerstyle. Pass’ bebop-oriented single-note lines sounded quite horn-like with his frequent use of left-hand slurs. The left-hand slurs (pulloffs, hammer-ons, glisses) work well for the electric fingerstylist making it possible to execute legato rapid phrases.

Any fingerstyle electric guitarist that has tried to play fast single-note lines knows that they are nearly impossible to play without the use of left-hand slurs. Playing rest strokes with fingernails on an electric steel string is a risky proposition putting one's nails in jeopardy.Though it is possible to play rest strokes with the flesh and not the nail of the fingers, it seems that many jazz fingerstyle guitarists choose nails over flesh for definition and accuracy.

Prime examples are Lenny Breau, Joe Pass, and George Van Eps. I have heard a few players make the pads of the fingers work for them in this regard. But, those guitarists seem to be the exception rather than the rule. Playing free strokes with nails is the more common route taken for the electric fingerstyle player.

It is worth pointing out that many acoustic fingerstyle players use fingerpicks or thumbpicks to meet the heavier gauges of strings used. The picking hand needs to work harder to generate the necessary volume. Even though most modern acoustic steel-string guitars have pickup systems in them they are generally set up with heavier roundwound or bronze strings, making them better suited for picks (flatpick, fingerpicks) or the flesh of the picking fingers. The electric player can play much more gently and let the amp do the work. A true electric guitar can be viewed as a different animal altogether and often a finicky one at that.

If you are just getting started playing with nails on an electric guitar I’d suggest trying a set of flat-wound strings. A lighter set will be kinder on the nails, but some experimentation is necessary in finding the right guage for you.

I use a set of .011s but I replace the first string with a .012 for more fatness in the treble and for greater resistance. I shape my fingernails in a rounded shape and make them as smooth as possible and check them often for glitches. The two tools I carry with me are a Revlon-type nail file and 600 Tri-M-ite sandpaper.

When I first began playing fingerstyle, after many years of flatpicking, I started with a classical style right hand technique. I quickly realized that some changes needed to be made on an electric guitar. With the electric guitar’s sympathetic vibrations magnified through the amp, I found that thumb muting is crucial in the picking hand. Normally my thumb is either playing notes or muting strings, following my index finger up and down the set of strings. This keeps my fretting hand more relaxed since it is not responsible for all of the muting chores.

As far as picking hand strategies, generally index and middle alternation using freestrokes is a good choice. I often mix in the thumb or the ring finger wherever it feels right. Since fretting hand slurring is so commonplace in jazz guitar, strict finger alternation need not be a big issue. I need the articulation to fit the melodic line and deliver it with the necessary conviction. As long as it’s sounding right I’m not going to get hung up on the fingering. It’s always advantageous to experiment with different fretting hand fingerings, as they will almost always involve different fingers of the opposing hand. The proper balance must be found between the two hands for all to sound its best. Many factors must come together in creating a good sound, phrasing and articulation, so listening and experimentation is key.

For further examples of electric fingerstyle techniques my July 14, 2008 video masterclass, go to Mike's Master Classes where I cover these areas in detail. Making the transition to fingerstyle on an electric is not an easy one. But, I think you’ll find that the variety of textures and nuance that it can add will be well worth the effort.