The Way That Picking Technique Affects The Authenticity Of Acoustic Blues Guitar
Back in the 1960s there were not a lot of very good acoustic blues finger pickers around. US students of the original acoustic guitar music had found all the living blues men and copied their techniques, writing it down on paper as they went. Guitar players such as Stefan Grossman and many others did a superb service to future generations by putting together a simple blues guitar tabalature system for other guitarists to follow. It definitely cut corners - instead of listening to the old records and attempting to work out where the fingers went, it was written out, and expedited the learning process.
Very shortly, numerous blues guitarists were taking on the most complex ragtime arrangements, and finger picking became more and more intricate, with players using their thumb, two, three and sometimes all their fingers to pick with! How did this development come about? Possibly in an attempt to simulate the sounds of the classic guitarists such as Blind Arthur Blake and Gary Davis, more fingers came into use. It was a way around, and meant that one finger needn't move so fast, which was how the old blues men did it. Nevertheless, its not as simple as that. Even when the finger picking is correct technically speaking, there is frequently something lacking in present day blues guitar playing - a delicate change in the tempo and that elusive feeling that talks to the listener. One finger passing quickly over the strings imparts a certain emphasis to the beat, which cannot be imitated with more fingers. Additionally, the bass strike differs in it's angle of attack and power when several fingers are brought into play.
The hunt for technical excellence can be the Holy Grail for guitar players, but it's wrong to look at it this way. Few players can equal the strength of the classic blues men, simply because the underlying techniques don't make a good enough foundation. There are no easy paths to the power of the blues. Listen to the bass patterns of blues men like Big Bill Broonzy and Lightnin Hopkins. Lightnin' could strike just one bass note and make your spine tingle. It is not the complicated technique that represents the blues, but the spirit and strength behind it.
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