Raking and Directional Economy: Controlled Efficiency Without Accidental Accents

Raking is an intentional “follow-through” where the same plucking finger plays two (or more) adjacent strings in a descending direction (from a higher-pitched string toward a lower-pitched string). Instead of resetting the finger to alternate, you let it continue its travel and use that motion to sound the next string. Done on purpose, raking creates efficient, fluid descending lines and clean string transitions. Done accidentally, it produces uneven accents, unexpected dynamics, and stray noise.

What raking is (and what it is not)

• Raking: One finger plays a note, then continues through to pluck the next lower string as part of the same motion (e.g., G string to D string, or D to A).
• Not raking: A sloppy string crossing where the finger brushes an adjacent string unintentionally, creating a ghost note or a louder “thump.”
• Directional economy: Choosing the most efficient direction-based option (rake vs. strict alternation) while keeping tone and timing consistent.

When raking improves fluidity

Use raking when the line is clearly descending across strings and the musical context benefits from a connected, legato-like feel.

• Fast descending fragments: Short runs that move from higher to lower strings with minimal rhythmic space.
• Arpeggio drops: Descending chord tones that naturally fall to lower strings.
• Repeated descending string transitions: Grooves where the same crossing happens often enough that efficiency matters.

When strict alternation is preferable

Even if raking is possible, strict alternation can be the better choice when you need maximum consistency of attack or when the line changes direction frequently.

• Mixed-direction phrases: If you descend then immediately ascend, raking can set up an awkward finger sequence or create a strong accent at the turn.
• Highly even dynamics required: Studio-clean eighth-notes or situations where every note must match precisely.
• Syncopation with rests: If there’s space between notes, the efficiency of raking matters less than consistent articulation.

Controlled raking: the three non-negotiables

1) Consistent finger angle (same “edge” of the fingertip)

Raking often changes how the finger contacts the string because the finger is traveling farther and may rotate. Your goal is to keep the contact surface consistent so the tone doesn’t brighten/dull unexpectedly.

• Keep the fingertip shape stable: avoid “rolling” onto the nail side during the follow-through.
• Let the motion be small and guided: the finger should pass through the string, not swipe across it.

2) Matching volume across the rake

The most common raking problem is that the second note (the one on the lower string) pops louder because the finger has more momentum. Think of the rake as two equal notes, not one big motion.

Continue in our app.

• Listen to the audio with the screen off.
• Earn a certificate upon completion.
• Over 5000 courses for you to explore!

Or continue reading below...

Download the app

• Use less depth on the first string so you don’t build excess speed.
• On the second string, aim for the same displacement as a normal pluck—don’t “dig in” just because you’re already moving.

3) Preventing unintended ghost notes

Unwanted ghosts happen when the finger brushes a string on the way to the target, or when the string you just played keeps ringing into the next note. Your job is to make the rake a clean transfer, not a scrape.

• Make sure the finger clears the string you just played cleanly before contacting the next string.
• If you hear a faint extra click or pitch, slow down and reduce sideways motion.
• Coordinate with your muting plan so the previous string doesn’t ring into the next note (especially on higher strings).

Step-by-step: building a controlled rake

Step 1: Two-string rake on open strings (tone matching)

Set a metronome slow enough that you can listen critically. Play two notes: first on the higher string, then rake to the lower string with the same finger.

Example (descending strings):  G string → D string (same finger)

• Play G (open) with index (i), then let i continue to pluck D (open).
• Repeat with middle (m) doing the same two-string rake.
• Goal: the two notes should be equal in volume and similar in tone color.

Step 2: Add fretted notes (control the “landing”)

Now fret simple notes so you can hear pitch clearly and detect accidental ghosts.

G string: 5th fret → D string: 5th fret (same finger rake)

• Listen for any extra sound between notes (a brush or click).
• If the second note is louder, reduce the depth of the first pluck.

Step 3: Three-note descending pattern (rake + alternate)

Most musical lines aren’t only rakes; they mix raking with alternation. Practice a short descending figure where only one crossing is raked.

Pattern idea (descending across strings):  G string note → D string note → A string note

• Option A (economy): rake G→D with one finger, then alternate to A with the other finger.
• Option B (strict): alternate each note, no rakes.
• Goal: both options should sound equally even; you are choosing based on efficiency, not because one is “easier to keep clean.”

Practice blocks: short patterns that force control

Block 1: Short descending patterns (2–4 notes)

Use tiny fragments and loop them. The small size makes it obvious when the rake creates an accent.

• Two-note loop: high string note → lower string note (rake). Repeat.
• Three-note loop: high → mid (rake), mid → low (alternate), then reset.
• Four-note loop: include one same-string note before the rake so you must “decide” when the rake happens.

Block 2: Arpeggio fragments (descending chord tones)

Arpeggios often fall naturally across strings. Practice fragments that descend through adjacent strings and keep the chord tones equal in weight.

• Choose a simple triad shape spanning three strings.
• Descend through the notes using a rake on the first string crossing only.
• Then repeat using strict alternation and compare tone and timing.

Block 3: Mixed-direction phrases (decision training)

Create phrases that descend across strings and then immediately change direction. The goal is to choose raking only when it doesn’t create a heavy accent or awkward setup for the next note.

• Phrase type: descend across two strings, then ascend on one string.
• Phrase type: descend (possible rake), then jump to a higher string for an upbeat note.
• For each phrase, write two fingerings: one with raking, one with strict alternation. Record both and pick the one that sounds more even.

Tone-consistency checklist (use while recording yourself)

Avoiding heavy accents on the first note after a rake

A frequent issue is not the raked note itself, but the next note—often played by the other finger—coming out too strong because your hand “rebounds” after the rake. Use these strategies to keep the line level.

Strategy 1: Plan the rebound (don’t let it surprise you)

• After the rake, keep the hand calm and close to the strings.
• Think “small reset” rather than “snap back.”

Strategy 2: Make the post-rake note intentionally lighter in practice

Over-correct briefly so your body learns the difference.

• Loop a 3-note figure: raked crossing → next note (other finger).
• Play the post-rake note at 80% volume for several repetitions.
• Bring it back up until all three notes match.

Strategy 3: Use a dynamic target

Assign a clear goal: every note hits the same perceived loudness. If you can’t measure it, you can’t control it.

• Record a short loop and watch the waveform peaks: the post-rake note should not spike.
• If it spikes, reduce finger travel on that note and keep the fingertip contact consistent.

Strategy 4: Decide raking vs alternation based on the accent risk

If a phrase repeatedly produces an accent after the rake, treat that as a sign to switch to strict alternation for that passage—especially in grooves where evenness matters more than maximum efficiency.

Decision drill: choose the technique on purpose

For each short phrase you practice, answer these questions before you play:

• Is the line descending across adjacent strings with no immediate direction change? If yes, try raking first.
• Does the phrase turn around or require very even articulation? If yes, try strict alternation first.
• After recording both, which version has more consistent tone and fewer accents? Choose that one, even if it feels less “efficient.”