“Once you have it down, you can explore improvised melodies along with the steady bass pattern”: What is “Dead thumb” fingerpicking?

As I stated in my last column, my favorite band lineup is the guitar-bass-drums power trio. With the guitar being the primary chordal and melodic instrument in the ensemble, there are challenges inherent in the role.

But with those challenges come great freedoms to direct the music however I might feel like doing at any given moment on stage. This is something I strive to take advantage of in just about every song I play with my trio.

A great example of what I’m talking about here can be found in the title track to my 2022 EP Threw Me to the Wolves, which features both electric and acoustic versions of the tune.

Threw Me to the Wolves is a song that I play at just about every live show, and in that setting I like to stretch out and explore the song dynamically, from quiet, unaccompanied fingerpicking to full-on power trio Mountain-style soloing.

Essential to the song is the fingerpicked rhythm part during the verse sections. As shown in Figure 1, I play all 1st-position chords here, starting with Am to C to G5.

At the chorus, illustrated in Figure 2, the progression moves from Fsus2, sounded with the open G string, along with a thumbed-fretted low F root on the 6th string, to G5 then back to Am.

The primary rhythm part is built around a fingerpicking technique known as “dead thumb,” wherein thumb repeatedly strikes an open string in a steady rhythm, with a little bit of palm muting, while the fingers pick melody notes on the higher strings.

As shown in Figure 3, I pick the notes on the G, B and high E strings with my index and middle fingers in a syncopated manner over the thumbpicked open A string.

The verse moves to a C chord and is performed with the same thumbpicking technique (see Figure 4). Figure 5 focuses on the switch from Am to C.

Figure 6 illustrates the complete Am - C - G progression, with each chord presented in essentially the same fingerpicking style. The only difference is, for the G chord, I change the pattern to bring in a C note, sounding a Gsus4 chord. The chorus is made up of Fsus2 - G5 - Am played in the same manner.

The “dead thumb” technique provides a self-accompaniment, so once you have it down, you can explore playing a variety of improvised melodies along with the steady bass pattern, as I demonstrate in Figure 7. This is a great way to expand on the basic approach in a freely melodic way.

The solo section of Threw Me to the Wolves is wide open and lets me “breathe,” musically. With all of the sonic space afforded by the trio, I can really lean into what I’m doing. I like to take my time, use a lot of sustain and allow the music to blossom in a natural way.

As shown in Figure 8, I begin over an implied Am chord with a whole-step bend from D to E, followed by the minor 3rd, C. I then drop down to B, which is the major 3rd of the G chord. Throughout the remainder of the line, I alternate between the notes B, C and E over the F and G chords, which creates a great sound.

There’s something really special about how the song becomes a journey for both the band and our audience. As the guitarist in a power trio, it’s always an adventure to steer the journey down a new musical path.

• This article first appeared in Guitar World. Subscribe and save.