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Originally Posted by MarkRhodes
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08-30-2015 10:39 AM
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Originally Posted by Irez87
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08-31-2015, 03:04 PM #103destinytot GuestOriginally Posted by MatsP
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Originally Posted by destinytot
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I notice that with economy picking, when you "fall down" (or "fall up" on upstrokes if you will) on the destination string, it's far too easy to, after hitting the (destination) string, deflect too far from it with the pick, resulting in an unnecessary long path for the pick to travel in order to hit the destination string once more, at least for me. Economy of motion certainly holds true when it comes to economy picking as well.
Last edited by MatsP; 09-03-2015 at 07:33 AM.
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Originally Posted by fep
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Originally Posted by MatsP
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Do you still recommend this book?
I currently do Modern Method Volume 1, but I am considering perhaps doing this book 15-30 minutes every day as well. Thoughts?
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Originally Posted by znerken
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The main reason why I personally pick into the string rather than flat across is tone.
No classical player would use fingernails flat on.
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Ah sorry that post might have been relevant in 2011 lol
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Originally Posted by MatsP
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Yeah, I don't think pick angle has a huge bearing on overall speed, but more on tone. Obv the pick affects things as well.
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Is Oberg an alternate picker for the bop stuff? I know he does a flatter wrist variant of rest stroke picking when he plays GJ, but can't remember if he changes it when he's on the archtop, I think he said he does.
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Originally Posted by MatsP
Frankly, I've never been able to play with a pick flat against the strings for very long. (If I'm doing an exercise and will myself to do it that way, I can. For a few measures. Then it reverts to some angle or other.)
Herb also said he didn't pick every note. That's a big difference between him Pat Martino, who picks a higher percentage of his notes than Herb did. (Or Joe Pass, for that matter. They both slurred a lot.) And so did Wes, of course.
I like the slur-players of that era but not so much the legato players of the present day, who are faster and more fluid but not, for my money, nearly so appealing. I don't care for Martino as much as I do Herb Ellis and Barney Kessel. It's a matter of taste, I know, I know. Not saying anyone is better than anyone else. It may be that I mainly like the overall feel of '50s jazz (and those who kept it up afterward) than jazz since the '70s. (It's funny to me how bands from the '70s that I liked, such as Return To Forever, sound more dated to me than the Miles bands of the '50s.)
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I'm listening to early Martino a lot ATM. Some of the baddest jazz guitar playing I've ever heard. He even does some triplets!
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Originally Posted by christianm77
There's a reason why Eric Alexander is such a...
Today, 01:02 AM in Improvisation