In this segment, we'll be working on developing a hierarchy of resonances. Here I'll show you that the fingers of our right hand (when the player is right handed) can be used to create sound but also to mute. In other words, the same finger can be used to pick a string and then to stop the resonance of that same string, letting the next string—plucked by another finger—ring by itself. Practicing this will help you discern what the essential notes are in your playing, better organize both their mixing and length of their resonance, and stop the overlap of undesired tones.
There are several different ways to control the notes’ sustain. Here, each finger has a dual function: pick and stop or pluck and rest. Have your left hand mute all six strings at the seventh fret while your right hand plucks each string, creating a more rhythmic and drier sound that helps articulate what you're doing. For the next hand movement, you'll stop muting the strings with your left hand, having each of them resonate openly until you apply the resting/stopping technique I described.
The little triangle in the tab, next to a letter and arrow, indicates that the referenced finger comes down in rest stroke position on the string (with the triangle) at the same time as the other bass is being played. This way, it stops the resonance of the bass note on which that finger rests. This results in hearing only one bass at a time—no overlap, no undesired interval, more precision, clarity, more music, and less confusion. This technique, relevant no matter the tuning, will make your right hand much more capable and in control. It’s even more crucial in DADGAD, where the tuning has a tendency to regularly drown everything out.