It is possible, using the same technique as described above, to expand the rest stroke p to two and more strings. This enables a note on one bass string, i.e. ^, to be played almost simultaneously with another note, usually the melody, on the higher adjacent string (%). Try playing the following exercise, remembering to use the whole hand movement as practiced previously, on one string (^), then across two strings (^ and %) and finally three strings (^, %, $). Obviously, it is not possible to sound both or all three strings together, but with practice the illusion can be achieved.
This double and triple rest stroke bass can and should be employed wherever possible, but it is especially worth mentioning the works of Heitor Villa-Lobos as being superb examples, i.e. Prelude No.1, Prelude No. 2 and Study No. 11. Also, Over the Waves from Popular Classics of the Great Composers Vol. 1 and Melody in F from Popular Classics of the Great Composers Vol. 4, clearly demonstrate the use of the double rest stroke p.