One way to hold a guitar pick

[Jonah]

unny you should mention that. I tried it. I thought it might work because I wrote so much as a youngster. Wrote (-wrote with a pencil and then a pen, I mean, Into my 20s and early 30s I wrote a lot of letters by hand, all my lyrics, many short stories, even chapters of terrible novels by hand. So when I encountered serious picking problems in my 20s, I thought maybe that grip would work for me because I didn't hold anything else as much as, or the way, I held a pen. But it didn't work at all. Not even close.

I also write by hand a lot (though lately i swicthed to typing.. meaning real typing machine... I cannot work with long texts on computer.. but still it is easier to scan and transfer typed text to electronic texts than to type my unreadable hand-writings )...

But the analogy came to me only today...
I hold it with two fingers slightly anchoring or even shifting over the pickguard but often I hold it with three fingers (without noticing it) with two other fingers closed in a fist
it looks also like wrist in orthodoxal cross sign Sign of the Cross
and since my thumb bends backwards quite naturally it begins to look like 'Benson-picking'

[zigzag]

I'm not sure if I like this thread or not.

I played on and off for 25 years holding the pick with my thumb, index, and middle fingers, much like Santana. Then when I took lessons (almost 15 years ago), without instruction, I held the pick with my thumb and index finger with the pick resting more toward the tip of my index finger and with my index finger pointed toward the strings. My pinkey was anchored on the pick guard, and the fatty part of my palm V rested on the bridge for muting. This is most natural for me.

Since reading this thread, I've experimented with grabbing the pick ala the OP. The pick positioned on the index finger fully bent is uncomfortable for me and adds so much tension that I found myself also curling my toes. It also seems to restrict the freedom and feel with that hand. So I have modified my grip to where I no longer use an anchor with my pinky, and I close my hand, though not tightly- like the hammer handle method. My index finger is not fully bent, and the pick rests between the first knuckle and the end of the index finger, and my palm V rests on the bridge. I think I'll stick with this grip for a while. At some point, I'll try to stop thinking about it. That may take months.

[mr. beaumont]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

[pamosmusic]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

You can't say I didn't try ...

[Jonah]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

I believe the grips described here come from playing already)))

it's not like you sit with a pick for days looking at it and thinking how to hold it...

[Para]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

The thread is called one way to hold a pick.

[Reg]

Different grips lose articulations and feel when tempos get faster, like most of the fast blues vids above... faster tempos don't translate well when the arm becomes involves. By that I mean, the feel and articulations... You basically end up with one pattern and feel, not bad, but limited. Anyone can practice and make almost anything work, but how much do you need to practice to maintain or keep the skill level up.

If you need to practice a lot to be able to play fast tempos... there are usually problems, not just the holding of the pick.


I did sit back and for a few years, spent days and days looking and thinking what methods work best physically when playing the guitar... picking was just one of the details.

[mr. beaumont]

I believe the grips described here come from playing already)))

it's not like you sit with a pick for days looking at it and thinking how to hold it...

who suggested that?

I'm not talking about just playing. I'm talking about what to practice to better your picking.

[SeanZ]

Who's the left handed guitar player behind Tal Farlow in this video?

[destinytot]

Who's the left handed guitar player behind Tal Farlow in this video?

Looks like Wayne Wright.

[SeanZ]

thanks, I'm not familiar with him, but he's certainly in good company with that group.

[vintagelove]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

If anyone missed it, several posts back I gave a good excercise and the reason it's important.

[MarkRhodes]

So...a lot of talk about how to hold the pick...how about what to practice to improve picking once you are holding it?

Uh, that would be another thread. This thread is "one way to hold a pick" and that's what it is about. (Or was.) If you're not interested in that, that's fine, but why are you posting here if you're not interested in this topic? Start a thread on your favorite picking exercises (-or etudes or material or whatever.) I'm sure there'll be some interest.

[pamosmusic]

Well I'd imagine that "does your grip actually help your picking?" And "how do you make your picking work?" are natural extensions from the OP. I think that was just Mr. Bs (snarky) way of voicing his mild frustration with the fact that the fascination with magic pick grips seems to usurp what one might actually practice with the pick. I must say I second that sentiment (and fully endorse his level of snark)

[SeanZ]

After watching the video above with Bucky, Tal, & Les have begun trying to work with the 'closed fist' or 'hammer' style - or whatever the right term is? It's actually pretty comfortable for me on DGB and high E string but quite difficult to control on the A & low E strings and I notice my 'fist' starts opening up as if looking for some kind of anchor. Anyone else notice the same and have any suggestions?

tia

[Patrick2]

[QUOTE=Jonah;545267]I believe the grips described here come from playing already)))

it's not like you sit with a pick for days looking at it and thinking how to hold it...

It appears that for some . . . that is indeed what it's all about . . . for some.

[Patrick2]

wow, that's really how you took the rest of my post?

No, silly!! That's not how I took the rest of your post. I was totally taking a fun shot at myself for my typically long winded posts. It would have taken me six paragraphs to say what you said in that one sentence. The rest of your post was totally oblivious, to me. ;-)

[Patrick2]

Well I'd imagine that "does your grip actually help your picking?" And "how do you make your picking work?" are natural extensions from the OP. I think that was just Mr. Bs (snarky) way of voicing his mild frustration with the fact that the fascination with magic pick grips seems to usurp what one might actually practice with the pick. I must say I second that sentiment (and fully endorse his level of snark)

Ditto on most of the above!! But, I'm not sensing any snarky-ness from Mr. Beaumont. No . . IMO, the snarky-ness came from the OP's response to a very valid question posted by Mr. Beaumont. I'm sensing Mr. B.'s post was an expression of the nausia some are experiencing as a result of the OP's incessant postings of and obsession with "picking technique".

So, why don't we just tune out . . . right?? Well, if we've made any posts at all to a thread and we are linked in to having additional posts made to that thread show up in our personal email . . it's hard to not take a look see when the do pop up in our email. I do agree that Jeff's question was indeed relevant to the subject matter in the OP title. So, IMO . . it's unfortunate that a current moderator would take such a contentious tone with a former . . and very highly respected moderator, as Jeff was, especially when Jeff has gone way out of his way to come to the current moderator's defence in some rather contorversial actions taken or comments made by the current moderator. I for one am offended by his reply to Mr. Beaumont. Jeff didn't deserve that. I seriously doubt that if the roles were reversed . . (if Jeff was the current mod and Mark was the former mod) . . that Jeff would have been so snide with him.

[Vladan]

1. there are certain things I'll never understand, or be able to do
2. those trying to teach me, are they any good, are they better than I am, is there anything worth learning in their teaching, do I really need to learn that crap?

Also, I don't really get the "outside picking trouble", If it is what I think it is - picking from the "outside" on two different strings, ...

Say if I take care and pick from inside, picking the thicker string upwards will bring me further from the thinner string I'm supposed to pick downwards, isn't it.
In total, I think the sum of distances is just about the same whichever way you choose (but to lose) to do it, inside, or outside. I probably don't understand it, or ever will.

[Patrick2]

1. there are certain things I'll never understand, or be able to do
2. those trying to teach me, are they any good, are they better than I am, is there anything worth learning in their teaching, do I really need to learn that crap?

Also, I don't really get the "outside picking trouble", If it is what I think it is - picking from the "outside" on two different strings, ...

Say if I take care and pick from inside, picking the thicker string upwards will bring me further from the thinner string I'm supposed to pick downwards, isn't it.
In total, I think the sum of distances is just about the same whichever way you choose (but to lose) to do it, inside, or outside. I probably don't understand it, or ever will.

I too don't get, or understand the outside picking thing. I've never heard the term used before. What exactly does "picking from the outside on two different strings" mean? My pick constantly spends the vast majority of its time "outisde" of the space between any two given strings ..(if that's what it means). It's virtually impossible to play "inside" unless you're only playing the two strings you're inside of at any given moment. Heck . . I don't even think you could do that! Once your pick has plucked a string . . . it automatically becomes above and outside the two strings it might have been previously inside of.

Oh . . heck! Now I'm getting caught up in this overly analytical nonesense. I'm going back to my . . "grip it and rip it" philosophy.

[vintagelove]

1. there are certain things I'll never understand, or be able to do
2. those trying to teach me, are they any good, are they better than I am, is there anything worth learning in their teaching, do I really need to learn that crap?

Also, I don't really get the "outside picking trouble", If it is what I think it is - picking from the "outside" on two different strings, ...

Say if I take care and pick from inside, picking the thicker string upwards will bring me further from the thinner string I'm supposed to pick downwards, isn't it.
In total, I think the sum of distances is just about the same whichever way you choose (but to lose) to do it, inside, or outside. I probably don't understand it, or ever will.

Play three notes on the e string, down up down, if your alternate picking you will go to the next string A with an upstroke. That is outside picking. "Easy" to do slow, "hard" to do fast.

[vintagelove]

I too don't get, or understand the outside picking thing. I've never heard the term used before. What exactly does "picking from the outside on two different strings" mean? My pick constantly spends the vast majority of its time "outisde" of the space between any two given strings ..(if that's what it means). It's virtually impossible to play "inside" unless you're only playing the two strings you're inside of at any given moment. Heck . . I don't even think you could do that! Once your pick has plucked a string . . . it automatically becomes above and outside the two strings it might have been previously inside of.

Oh . . heck! Now I'm getting caught up in this overly analytical nonesense. I'm going back to my . . "grip it and rip it" philosophy.

See the above post.

[pkirk]

I too don't get, or understand the outside picking thing. I've never heard the term used before.

Hey Patrick. Play the following open strings in this order DGDGDG.... using strictly alternate picking. If you start with a downstroke, that is "outside" picking. if you start with an upstroke, that is "inside" picking. The terminology becomes clear if you try it.

[Patrick2]

Hey Patrick. Play the following open strings in this order DGDGDG.... using strictly alternate picking. If you start with a downstroke, that is "outside" picking. if you start with an upstroke, that is "inside" picking. The terminology becomes clear if you try it.

Ah! Got it. I was confusing what vintagelove explained with what I know as economy picking. Also, wouldn't what one is doing prior to striking the first D, or what one intended to do after striking the D, be the driving choice of whether they would strike the D with an up stroke or a down stroke?

I still find it very surprising that so many put so much thought into a picking method/technique. It just occurs as an "auto pilot" function for me. I'm thinking it's more for reading than for blowing? When I was reading, I did actually think about how I might want to pick when having to skip strings. But, even then, I'd try it once both ways, then, I'd pretty much know what I wanted to do. I was never really into correctness with my right hand. I just simply "told" might right hand what I wanted it to do . . and it did it. (that's something I've never been quite able to do with my wife . . but, I digress). The left hand/fingers is where I alway focused all of my efforts to perfect correctness in technique.

[pkirk]

Ah! Got it. I was confusing what vintagelove explained with what I know as economy picking Also, wouldn't what one is doint prior to striking the first D, or what you intend to do after striking the D be the driving choice of whether they would strike the D with an up stroke or a down stroke?

I still find it very surprising that so many put so much thought into a picking method/technique. It just occurs as an "auto pilot" function for me. I'm thinking it's more for reading than for blowing? When I was reading, I did actually think about how I might want to pick when having to skip strings. But, even then, I'd try it once both ways, then, I'd pretty much know what I wanted to do. I was never really into correctness with my right hand. I just simply "told" might right hand what I wanted it to do . . and it did it. (that's something I've nver been quite able to do with my wife . . but, I digress). The left hand/fingers is where I alway focused all of my efforts to perfect correctness in technique.

I spent the first 35 years of my jazz guitar playing days never giving any thought to picking: the music and my limitations always dictated what I played. I do focus on picking a bit now because it's a fun new thing to practice, and it helps keep my chops, such as they are, in shape.

However, I don't believe it will make any difference on the bandstand, or make me a better player. I suck and will always suck, no matter what and how much I practice.
In fact I don't believe that one can improve *technically* after a certain age, one can only improve musically in ways that don't depend on technique. I know this is likely to be an unpopular assertion on a forum populated with lots of middle aged and old guys, but I suspect the *very very few* middle aged players on this forum who *demonstrably* have great chops and can play jazz well already had that ability by their early 20s. In particular, except for teenaged beginners, I don't think focusing on picking technique is likely to make much difference on how they sound in the long run.