Pinky Anchoring

A lot of playing guitar is about what works for you.

I mean, some classicists will tell you that your fretting-hand thumb has to stay directly behind the fret board, but then you look at someone like Clapton who curls it all the way around and still plays amazingly. I think the same goes for pinky anchoring; there are plenty of good guitarists who do it, and just as many who don't.

Personally though, I like to rest my pinky right on the bottom edge of my back pickup (at least on my electric). If nothing else, it gives me a sort of "home base" so that, by muscle memory, I can train my hand to know exactly how far away each string is and I don't have to look/guess to make a big 2 or 3 string jump. When I first started doing it, it took away from my speed a little bit, but after a little practice with my new positioning, the speed came right back to the same place, if not faster. Of course pinky anchoring doesn't work for strumming, but I even use it for some finger-style playing, when I won't need my pinky.

Well, that's my 2 cents, hope you get some other good replies to balance it out! 8)

some players anchor
some players float.

it all depends on what I am playing.
most times I am a floater.

disclaimer...since I palm mute so much pinkies do not enter into the factor.

You're right that many 'rules' of guitar playing come without a rationale. That doesn't mean there isn't one... just that a lot more people will repeat the rules without understanding them.

There are three main methods players use for positioning their picking hand:

1. Anchor against the bridge with the heel of the hand.

Advantages: places each string under a specific point relative to the anchor, making it easier to find single strings. Makes it fairly simple to palm mute by moving the hand slightly forward.

Disadvantages: limits the tonal range by restricting the picking area to a small section of the strings (harder to play over the soundhole/pickups). Makes some techniques impossible to do without repositioning the hand (like Lenny Breau style harmonics). Can lead to inadvertant string muting if the anchor point slips past the saddle. In some situations, it can lead to variations in pitch when playing a guitar with a trapeze bridge.

This method is seen most often in specific genres: bluegrass (solos tend to be picked on the string area well behind the soundhole) and rhythm guitarists in metal (heavy on palm muting). Outside those genres, it's usually the mark of a self-taught guitarist who hasn't spent much time working on the possible variations in tone. A few pros will use it for specific tunes - if you need the timbre from picking close to the bridge throughout a piece, and you're used to floating, it helps adjust for the change in hand angle that results from moving way back.

2. Anchor the pinky against the pickguard.

Advantages: strings are relative to the anchor point, making them easier to find. The picking hand can be easily repositioned for variations in tone.

Disadvantages: uses more energy for cross-string picking (it's harder to keep the pinky positioned when you're rapidly rotating the joint between finger and palm). Can lead to awkward stretches while fingerpicking or hybrid picking. On acoustic guitars, any anchor point on the face of the guitar will slightly lower the volume and change the tone - the lighter the top, the more noticeable this will be (try it on a classical; you'll probably hear the difference). When fingerpicking, the angle required to maintain hand position will limit the available variations in strokes, making classical techniques like apoyando and/or tirando less pronounced.

This method is seen most often among fingerpickers in all styles except classical and jazz - classical because of the strong effect on top vibration, jazz because most jazzers get professional instruction. You'll see a few pros doing it, either fingerpicked or plectrum... and I've seen a few use it only for specific passages; they may be using it for a comfort level in a difficult part, or to increase their tonal range by deliberately dampening the top.

3. Float the picking hand

Advantages: total mobility; all tonal variations are available, including the choice to top-damp by using the pinky. Fast transition to any technique that requires a forward hand - artifical harmonics, tapping, etc. Leaves one more finger free for percussive techniques a la Kaki King. All rotations of finger attack on the strings are available, making all classical techniques possible. On acoustic instruments, the top is completely free to vibrate, adding to volume and tone.

Disadvantage: it's harder to learn.

Most pros float - you can simply do more, and do it more easily.

Anchoring the pinkie on the pickguard works for me. It was just easier for me to learn like that, now its a habit. Do what works for you.
Eric

It's probably not a good idea to float while sweep picking. :D

On the contrary - check out Synyster Gates, Matt Heafy and Herman Li doing sweep arpeggios.

Slash anchors his pinky in the video to Patience, but has it floating in concert footage from Live8. Some people do, some don't; it makes playing that much more difficult IMHO.

Best,

A :-)

If you watch the shredders sweep picking, they're muting strings with the fretting hand - letting up pressure as the next note is picked.

I anchor my pinkie. Always have. It gives me better control when fingerpicking (and flatpicking too, for that matter). When I try to play "unanchored" I sometimes lose my place and have to look down to see exactly where my fingers are. When I'm anchored, I never have to look.

To each, his own, I suppose! :D

I'm a floater.

My first five years playing were from an extremely accomplished jazz guitarist, and he was adamant that I learn proper technique, and practice it until it was habitual.

Once that happened, he showed me how to use the "wrong" techniques to best advantage, and to get tonal variation that I couldn't get using the "right" way.

But to USE the "wrong" ways is something I have to consciously decide to do. Otherwise I float, 'cause that's what got pounded into me for five years, and re-inforced by 32 years of habit.

you can't pound the snot out of the strings when you're anchored.

i have just started to learn fingerpicking so I'm glad I read this post. I have been anchoring my pinky to the deck and have found it easier to keep my place as Electrablue stated. I also find that my hand gets tired quicker and playing gets sloppy. I'm going to try floating since I'm not good enough yet anchoring anyway.

I sometimes anchor and I sometimes don't, but I have one concern after reading (I think) Noteboat's post, that floating is always better.

How the hell do you tremolo pick with a floating hand? :? :shock:

well that's an interesting question.

anchoring, while being an easier skill to grasp as you begine playing, is in the end harder, because as you develope as a guitarist things are gonna get a little more complex and quick, and eventually, in order to handle the more tricky stuff, you will want to float.

i think, that shaking the anchoring habit off and going airborn is hard but worth it.

do it gradually, this things take time and practice, somday in the future you'll thank yourself for the effort your putting in now.

good luck! :D

Classico

See Noteboats' analysis...I move between all three of the positions he describes.
I am self-taught....mainly learned all my stuff from listening to records, some from watching live musicians or those on T.V.

I do my bluegrass picking, and Luther Perkins style (J.Cash) lead using a heel anchor.
A bit of three-finger-style using either third or pinky anchoring...carryover from a bit of banjo work I once did.
But mostly a floating style for all the rest of country, blues, jazz, rock etc.
Learn to use all three....you will likely wind up mostly a floater... 8)