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  1. #51
    Quote Originally Posted by christianm77 View Post
    OK, I gave this a try today. I can play it at tempo, albeit not very well, but I have trouble with the top note being heavily accented. Not sure if this is the same issue Reg was having.


    Now, an observation - to do this with DWPS means that the top note is heavily accented to the point of the lower note being a bit of a ghost.


    If I straighten my pick up a bit I get more of an even sound.


    In either case I am getting a lot of string noise which suggest I am in fact swiping without the muting bit.

    Cool Christian, thanks.


    Tomorrow is my day off, sort of. Maybe I’ll record a video of me trying this and talk through some of my picking issues


    at great length


    in great detail.


    what’s the maximum file size for a youtube video again?

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  3. #52

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    If you're new @YT, I think it's 10 minutes, or 15 minutes, file size does not matter. If you are there for a while and become partner, I think there's no explicitly set limit .

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  4. #53
    thanks vladan, it was just a joke mocking my own long-windedness and obsession with detail.

  5. #54

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    I understood general humorous tone, but thought you were serious in detail, about max. allowed size.

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  6. #55

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    It made me laugh!

    BTW I thought of you today when I was on my gig playing Seven Come Eleven. The way I finger it, there's a little bit of a string cross like yours repeated a few times. Without putting the tab up, hard to describe it exactly, but the melody goes

    B C Eb C Eb C Eb F a few times

    I put that C Eb on the 3rd and 2nd string respectively. This tune is pretty fast (around 260 bpm) and the line is quavers. So not quite as fast as your example, but fast enough to be challenging.

    I have to say, I find it much easier to play in a musical context.

    No idea how Charlie fingered it. I suspect not the way I do.

  7. #56

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    What made me laugh, Christian, was your previus post in this thread. What was it ... You can play two notes line in tempo, it's just that you play only one of those two, but to compensate you accidentaly hit adjacent strings a lot ... Not to mention poor Steve Vai and his inability to play rhythm guitar, from another thread. LOL.

    Btw, nobody answered my question, since when playing line of two, or even 3 notes, placed on 2 adjacent strings is considered cross picking?


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  8. #57

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    Quote Originally Posted by Vladan View Post
    What made me laugh, Christian, was your previus post in this thread. What was it ... You can play two notes line in tempo, it's just that you play only one of those two, but to compensate you accidentaly hit adjacent strings a lot ... Not to mention poor Steve Vai and his inability to play rhythm guitar, from another thread. LOL.

    Btw, nobody answered my question, since when playing line of two, or even 3 notes, placed on 2 adjacent strings is considered cross picking?


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    Haha you are a dreadful wind up merchant Vladan and I love you very much.

    Vai might be able to play decent rhythm guitar, he can certainly play rock rhythm as we all know. But he doesn't play funk guitar for example - that's not his thing, whether or not he can do it is not relevant. I doubt he'd be a great bossa nova rhythm guitarist, or brilliant at afro-beat, but hey who knows.

    The point is he does the Vai thing. His playing has identity, so what may have actually come across as carping is actually acknowledging the intelligence of his approach. He doesn't try to be everything, all things to all men.

    Anyway, I'm not a good cross-picker. TBH, my style and repertoire doesn't require it too much - 7 come 11 is an example that does.

    But my point was more that isolating a technical exercise and concentrating on something without context can actually make it harder to play.
    Last edited by christianm77; 11-02-2016 at 09:21 PM.

  9. #58

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    Quote Originally Posted by Vladan View Post
    What made me laugh, Christian, was your previus post in this thread. What was it ... You can play two notes line in tempo, it's just that you play only one of those two, but to compensate you accidentaly hit adjacent strings a lot ... Not to mention poor Steve Vai and his inability to play rhythm guitar, from another thread. LOL.

    Btw, nobody answered my question, since when playing line of two, or even 3 notes, placed on 2 adjacent strings is considered cross picking?


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    Vladan, my man, go to 7:00 in this video and you will get some good slow motion photos of cross picking. Maybe this will answer your question. Basically, you swoop in on each string in a bit of a "U" angle, where the tip of the pick dives into the string to play it and then comes out the other side in an arc. Your pick never gets caught in the string this way.


  10. #59

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    I mean thank uou, this clip clarified what is meant by cross picking in this thread, but ...

    My question is not "what is meant by cross picking, in this thread?", it is not "what is cross picking?", either. Some posts earlier I quoted from Wiki the deffinition of cross picking, as I know it.

    My question is, when this manner of avoiding strings started to present it self by the name of something completely different?




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  11. #60

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    Quote Originally Posted by Guitarzen View Post
    Play the D and the F both on the 3rd string and this becomes easy. Use legato playing and it becomes even easier again. I don't think one should waste time with something purely because it is difficult, when there is an easier way to do it. Why bang your head against the wall when there was an easier solution staring you in the face? I understand the idea of practicing every possible combination so that you can be prepared for anything. But I also understand it's not worth spending a 1000 hours of practice just to gain .001 % more efficiency for one very specific picking situation. The time is better spent on other things...
    Yep, or on the 2nd string. Then this lick would make a musical sense at that tempo. Or hybrid picking as is... But since the OP is being rigid on the rules...

    ...I agree 100% it's a foolish thing to practice things that don't make musical sense.

    Btw I can play it, no problem at 155bpm, it just sound like inarticulate mess at that tempo, and it's not because of my or anyone else technique problem. What's the catch here, anyway, or is it some kind of a joke?

  12. #61

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    A violin teacher said to me- I have two kinds of students, those that have trouble playing fast and those that have trouble playing slow.
    I think the world is full of guitar players now that have trouble playing slow.

  13. #62

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    I don't butt it very often with this but people are wired a certain way. Slow or fast. Focus on tonality. Make a nice sound. Are you playing for you or for other people?
    Speed will come with time. Slow down and enjoy the ride.

  14. #63

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    Actually, I found a fun solution (still only talking about the 1st lick)- left hand fingers move along with the picking hand.
    What I mean is you do the tapping/dancing on those notes as you pick them, not holding them down, which was my initial instinctive way of playing it. Now it's way more fun and I can use it.

    And yes Seven Comes Eleven repetitive riff is exactly where you apply this, if even a bit slower.

  15. #64
    Quote Originally Posted by Vladan View Post
    I mean thank uou, this clip clarified what is meant by cross picking in this thread, but ...

    My question is not "what is meant by cross picking, in this thread?", it is not "what is cross picking?", either. Some posts earlier I quoted from Wiki the deffinition of cross picking, as I know it.

    My question is, when this manner of avoiding strings started to present it self by the name of something completely different?




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    Troy specifically mentions in one of his videos (I don't know which one, sorry) that what he refers to as crosspicking is what he considers the motion used to achieve the actual definition of crosspicked patterns on guitar.

    It causes a lot of ambiguity, but it's the best we can do. Simply put: what bluegrass players and flatpickers call crosspicking is achieved by using the motion Troy has dubbed "crosspicking", in that the pick follows a curved path of motion to allow those licks to be played.

  16. #65

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    1. @ Hep To Thee Jive;
    @ Stevebol

    There's no point in bitching about musicality, the pourpose of playing fast, ...
    This is technical exercise to devellop picking abillity. weather this particular line is musically useful is not a matter to discuss.
    BTW, I know at least one common place sound, different from Christian's, where it would be the core technique of execution. You could play it fast, or slow as per the tempo of the song.

    2. @ Hep ...
    Saying for a technical exercise "I can do it, but souunds like inarticulate mess..." is an oxymoron. It actually means you can not do it.
    For that matter, in a real musical situation iit''s different. Real musical situation allowes you to articulate the mess into something musical and use it to own advantage.

    I can play the exercise clean and articulate @ about 130, after dealing with it for a while sometimes, accidentally @ 155, couple of articulate and clean bars happen out of them selves.
    However, from the get go, @ 155 I can always articulate what I play into something musical, though a bit different from what's requested in technical exercise..
    Finally, Hep, your solution with moving fingers is something I do, too and with variations.

    3. @ Shadoww Of The Sun

    LOL! LOL!!!! LOL!!!!
    So, Troy almighty self coined another buzz word term for desperate guitar players would have something to talk about and relocate their money to his poockets. Thanks, I should have guessed ...

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  17. #66
    Quote Originally Posted by Vladan View Post
    3. @ Shadoww Of The Sun

    LOL! LOL!!!! LOL!!!!
    So, Troy almighty self coined another buzz word term for desperate guitar players would have something to talk about and relocate their money to his poockets. Thanks, I should have guessed ...

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    When there isn't an already established name for what's being discussed (specifically, a curved pick stroke that escapes the plane of the strings both before and after the actual sounding of the string), why not come up with a new word to denote it? Or repurpose an already existing one that fits quite well already?

    While you think his work is nonsense, I and a fair few other guitarists have found that his explanations and terminology make it a lot easier to discuss things about plectrum technique that prior to Troy's videos and his use of those terms we wouldn't have been able to explain.

    Also, I find it ironic that you're snide about him "trying to relocate [their] money to his pockets" and his attempts at self promotion when every single goddamn post you include a link to your blog and the views and ad revenue that comes from that. Pot, meet kettle.

  18. #67

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    Shadow, nothing personal, sorry if I offended you.
    Links to my blog and YT channel are free, even if I earn something, which I rarely do, it's not from the pockets of those who were unfortunate enough to visit my pages. The only money I get is from the evil advertisers.
    I could agree TGs teachings were useful for the discussion about use of plectrum, once we all learn his self coined terms, sometimes conflicting with existing and accepted stabdard, if only it did not evolve into discussion of "His solution". There's no solution in what he says, IMO. It's swapping cause and consequence, treating (that ugly ...) S (... word ) as one.
    For one, it is impossible to pluck the string and keep the pick straight. It will always move one way, or another ... and so on ...

    He could have named it U ... Boat ... Turn ... but no, he chose the term name already being used in the simillar niche market for the reason of ...

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  19. #68

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    Quote Originally Posted by Stevebol View Post
    A violin teacher said to me- I have two kinds of students, those that have trouble playing fast and those that have trouble playing slow.
    I think the world is full of guitar players now that have trouble playing slow.
    Ha I agree.

    What if you can't do either? ;-)

  20. #69

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    Quote Originally Posted by Vladan View Post
    Shadow, nothing personal, sorry if I offended you.
    Links to my blog and YT channel are free, even if I earn something, which I rarely do, it's not from the pockets of those who were unfortunate enough to visit my pages. The only money I get is from the evil advertisers.
    I could agree TGs teachings were useful for the discussion about use of plectrum, once we all learn his self coined terms, sometimes conflicting with existing and accepted stabdard, if only it did not evolve into discussion of "His solution". There's no solution in what he says, IMO. It's swapping cause and consequence, treating (that ugly ...) S (... word ) as one.
    For one, it is impossible to pluck the string and keep the pick straight. It will always move one way, or another ... and so on ...

    He could have named it U ... Boat ... Turn ... but no, he chose the term name already being used in the simillar niche market for the reason of ...

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    I kind of feel your pain, Vladan.

    In this world, you have people are always coming up with their own terminology even when there is already a term out there. I work with a lot of technical folks and someone is always coming up with a new way of doing things and creating their own terms. Mostly, its the young guys who have never really experienced our industry. They create these new terms and then the old guys like me have to relearn and reorder my thinking to be able to communicate with them and everyone else in the company (the call it a "system" and not a company). They become the experts, and we have to adapt or retire because they also rewrite our guidance and come up with computer programs created from their point of view. It is the way of the world.

    (We also have this in Jazz).

    But, I would not necessarily put Troy in this category. He seems to be pretty sincere and I feel a kinship with him as being a seeker of knowledge who gets down into the details.

    This "crosspicking" (as he calls it) is so cool in that in can help you keep the tone consistent, and allows for some great string-skipping ability. I tried practicing with it and will probably go back to it thanks to Troy's research. I like it as being the best approach for me and I already do a lesser version of it naturally.

  21. #70
    I'm not a mod so I don't actually have any power for what people post or don't post, but, in the interest of having good, productive threads, just a couple of requests:

    1. If you'd like to discuss Troy Grady and whether he is good/bad for the community, can you start another thread for that? I'd contribute, and it may be an interesting discussion, (and one that gets into the cost/value of entrepreneurship in the music instruction industry) but it's not what this thread was intended for.

    2. If any individuals think it's foolish to analyze/study/practice technique, then maybe it's better for the forum if those folks avoided the 'guitar technique' subforum, or started a separate thread about whether pick technique is worth talking about. Again, I'd be happy to contribute to that conversation.

    I'm not a mod but I think these are reasonable suggestions that would make for cleaner, more productive threads.

  22. #71

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    @ AlsoRan,

    the "cross picking" as per standard of TG is pretty much my default, althiugh I kind of spontaneously mix it with other ways, with a result that is sort of random "hit and miss" especially in regard to strings that should be muted.
    What's even more peculliar for this technique, some will say it involves "string skipping" because on the way to the adjacent string you are passing over one you've just finished playing, or you're passing over the wanted one to pick it from the oposite side.
    When I learned this little terminology I know, "string skipping" was moving to non-adjacent string. So with my default I gained (fake) mastery of two techniques I never really practiced, "cross picking" and "string skipping", not to mention "pick slanting", which is natural ingredient of each and every string pick and string change. Becoming an multidisciplinary expert seem not as hard task as it used to be. Maybe I should go for PhD on "String plucking (on guitar)"?

    @ JakeAcci, I'm for discussion of technique, but if it takes a lateral turn here and there ..., I mean let's not be that strict.

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  23. #72

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    Quote Originally Posted by Vladan View Post
    I never really practiced, "cross picking" and "string skipping", not to mention "pick slanting", which is natural ingredient of each and every string pick and string change. Becoming an multidisciplinary expert seem not as hard task as it used to be.
    Ok ... I'll bite.

    What do you suggest the two seperate techniches of "cross picking" and two way pick slanting should be called?
    Cross picking means in the TG universe alternate picking across two stings that relies on an up down movement of the wrist and two way pick slanting which relies on a side to side movement of the wrist?

    As I understand you, then you think both should be called cross picking but doing that loses information.

    There has already been posted some cross picking vids in this thread, so here is one on two way pickslanting.



    Also to me TG has not redefined cross picking but introduced two way pick slanting into the world of common knowledge. So that is the new term. He then has kept the term cross picking as the default term the technique used by those that are commonly seen as cross pickers (the blue grass crowd and such)
    Last edited by Lobomov; 11-03-2016 at 09:58 AM.

  24. #73

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    I would suggest you to re-read my previous posts, seems you've greatly missunderstood them. I'd respect JakeAcci's wishes and continue as strictly on topic as possible. Core of the issue is, I happen to live in "this" universe, not TG's one, but for the sake of discussion I'll accept his existence. So let's move further. To clarify ...
    None of the two I would call cross picking, because the term is already used for something different, but simillar enough to produce confusion.

    Working on "slanting" won't get you far. If you are improving while doing it, it's because you are unconsciously improving something else. You should find that "else" and work on it. When you improve "else", "slanting" will come out naturally set to work.

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  25. #74

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    Quote Originally Posted by Vladan View Post
    Working on "slanting" won't get you far. If you are improving while doing it, it's because you are unconsciously improving something else. You should find that "else" and work on it.
    Sorry if I missunderstood your posts, but still the above sentence is very vague

    Can you give any examples of what this 'Else' that will improve my picking could be by examples?

  26. #75

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    I'm not a teacher and I don't give lessons. Even if I was a teacher, giving lessons, even if pro bono, unlike almost all other teachers, including . , I've never heard/ saw you play so I can not know if there are any problems with your technique. You might be perfect?

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  27. #76

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    Quote Originally Posted by christianm77 View Post
    Ha I agree.

    What if you can't do either? ;-)
    Everyone can do one or the other. I'm suggesting we're wired one way or the other. A lot of guitar players think they're not fast enough. Let's face it, bop is really hard for a lot of people. To my ears jazz musicians in Japan have trouble playing fast but they have their own school at this point. In the US jazz musicians have trouble playing slow.
    I picked up the guitar and tried Seven Come Eleven. haven't played that since the 70's. It's going to be an awkward lick but anyone should be able to do it. It's not that hard.
    Last edited by Stevebol; 11-03-2016 at 12:29 PM.

  28. #77

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    As Hep suggested I tried a 'dance' between the two fingers with the song Seven Come Eleven. I worked on that song in the 70's. I found myself accenting the lower note with the middle finger. Exaggerate the swing feel.
    If I was really into it I'd start slow and maintain a swing feel.
    Experiment a little.

  29. #78

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    Quote Originally Posted by Vladan View Post
    I'm not a teacher and I don't give lessons. Even if I was a teacher, giving lessons, even if pro bono, unlike almost all other teachers, including . , I've never heard/ saw you play so I can not know if there are any problems with your technique. You might be perfect?
    I'm honored that you made it about me personally, but this isn't about me. This is for me about folkflore. Blanket statements without any concrete example. That diminished lick in the Steve Vai clip is a prime example of something that is a mess if you have to work it out on your own. I've struggled with such licks for years and would end up with some sorry mess involving sweeping, legato or both.

    Along comes TG and just show that all you have to do is to change the way your pick points every 4 notes and VOILA! Suddenly it is doable. Getting that idea on your own requires luck .. and for most people will not happen. (and so we are back to the sweeping/legato solutions neither of which work very well in this particular lick).

    TGs advice is concrete and useful to me. The advice that if I work on something else than picking then my picking will improve seem less obvious

    But if we are to make it about me:
    I'm one of these doctor/lawyer (in my case the disease is being an economist) types that played a lot while young, but then got caught up in work and family life. A divorse a few years back gave me the opportunity to rekindle my flame for music and gave me a new hobby of buying expensive guitars .. I'm decent but that is all. It is an honor to have players on a pro-level share stuff with us lesser beings.
    Last edited by Lobomov; 11-03-2016 at 12:43 PM.

  30. #79

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    I'm not that lucky to have the means to buy expensive guitars. You can take my statement as blanket, or as you wish. My stance is, if you have to consciously change the orientation of the pick each 4 notes, in order to play one particular lick, then something is wrong with your technique on a different level. One should not think about orientation of the pick while playing. Pick should be there in your right hand, unless you are left handed, following the ear, the mind, the body, left hand, arm, elbow, wrist, fingers. It's not wise, IMO, to let the pick position lead in reverse order.
    However, if solving individual licks is the main goal, then OK, whatever.


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  31. #80

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    Quote Originally Posted by Vladan View Post
    My stance is, if you have to consciously change the orientation of the pick each 4 notes, in order to play one particular lick, then something is wrong with your technique on a different level.
    That we can easily agree on. Once you learn a technique then you forget about it and just play. But that being said, none of us just pick up an instrument play notes on random or by feel and suddenly it's music.

    We've all been practicing the C-major scale down the finger board. I remember the pain of playing octaves at first .. plenty of things that I've worked on that now have become second nature. It is the same with pick slanting .. unfortunately at first you have to practice it conciously in order to get the movements right and then ... it is out of the window.


    Cheers Vlad!
    Last edited by Lobomov; 11-03-2016 at 01:53 PM.

  32. #81
    likely just throwing a lot of fuel to the fire but here we go:


  33. #82
    if anybody says "hey i want those 10 minutes of my life back" then I gotta tell you now there are no refunds

  34. #83

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    Quote Originally Posted by Lobomov View Post
    That we can easily agree on. ...

    Cheers Vlad!
    Cheers mate, but I think we can only agree that we do not agree and leave it there. See you around the forum.


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  35. #84

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    I think what Vlad is saying is that TG is good for specific licks (like the dim. lick) but is very hard to apply to jazz improvisation, which is not just playing specific licks (although I think it is unfortunately moving in that direction with some players who work out everything they do beforehand), but is more a matter of playing compositionally, rather than mechanically.

    However, isTG's message that you should slant downwards every time you use an upstroke, and slant upwards every time you use a downstroke, all the time? Or is he saying you should work it out strategically, according to the lick you're playing?

    I like the fingering for the dim. lick; I don't think I would have fingered it that way on my own.

    The Seven Come Eleven lick is a nightmare at fast (above 300bpm) tempos. I solve that problem by playing the minor 3rd on one string at fast tempos.

  36. #85

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    Quote Originally Posted by sgcim View Post
    However, isTG's message that you should slant downwards every time you use an upstroke, and slant upwards every time you use a downstroke, all the time? Or is he saying you should work it out strategically, according to the lick you're playing?
    Strategically .. He actually starts the series by looking at players that use stricts downwards pick slants like Yngwie and Eric Johnson. They solve problems with an uneven number of notes pr. string by sweeping ascending and playing the last note as a pull off while descending.

    Then he introduces Michael Angelo Batio that uses both the two way slanting approach like in the vai lick and swipes if needed. Change in pick slant isn't every note, just when appropriate. The Vai lick saw every 4th note.

    Finally he gets to the bluegrass players like Carl Miner, who actually change slant every stroke which allows them to spread mayhem on his acoustic doing crazy string skipping and all that. Tho when you start approaching the very fast stuff Carl switches to a pick slanter like the other guys.

    In order to watch it all you need patience and time .. it moves extremely slow bordering on painful
    Last edited by Lobomov; 11-03-2016 at 04:33 PM.

  37. #86

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    From what I've watched, it seems the pick slanting thing only works with the "Mel Bay" pick grip...not my ass-backwards "Benson" grip that I thought was the only way to hold the pick until I started joining internet forums.

    Bummer, looks like it works. But waaaay too late in the game for me to fundamentally change how I hold the pick. That ship has sailed.
    Jeff Matz, Jazz Guitar:
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    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  38. #87

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    Quote Originally Posted by mr. beaumont View Post
    From what I've watched, it seems the pick slanting thing only works with the "Mel Bay" pick grip...not my ass-backwards "Benson" grip that I thought was the only way to hold the pick until I started joining internet forums.

    Bummer, looks like it works. But waaaay too late in the game for me to fundamentally change how I hold the pick. That ship has sailed.
    That isn't true. The only parameter that matter is whether your pick slants downwards or upwards .. apart from that you can be as backwards as you like
    Last edited by Lobomov; 11-03-2016 at 04:35 PM.

  39. #88

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    You're all hypnotized, no other explanation.
    Have to find those sunglasses, aliens might be just around the corner. And some bubble gum, so I could get out of it at appropriate moment.


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  40. #89

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    Quote Originally Posted by Lobomov View Post
    That isn't true. The only parameter that matter is whether your pick slants downwards or upwards .. apart from that you can be as backwards as you like
    Nah, really doesn't work with my grip. Specifically the slant that points towards the floor.

    No biggie, I'll survive
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  41. #90

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    Quote Originally Posted by JakeAcci View Post
    likely just throwing a lot of fuel to the fire but here we go:

    The open string thing is basically the same thing as the minor 3rds thing in your OP.
    I've incorporated the open string exercise in my daily practice routine for a while now, and I have the same problem that I had with the minor 3rds thing; I can whiz through it if I'm ascending and starting on a down stroke, but if I start on an up stroke, I'm way slower.
    Descending, the reverse is true, which is the same picking as your OP.

    This stuff is important, because guys like Pat Martino, Jack Grassel, Johnny Smith and Jimmy Bruno say that you should be able to play the same things that you play when you start with a down stroke the same way if you start on an upstroke.

    I took my whole practice regime of scales and arps, and reversed the picking so that I start with an upstroke.
    I think it's helped me, although I'm just going on what other musicians(not guitarists) I play with say.
    I don't tape myself, because I'm afraid the acid from the puke might damage my esophagus!

  42. #91

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    Quote Originally Posted by JakeAcci View Post
    likely just throwing a lot of fuel to the fire but here we go:


    Thanks going to the trouble of making the video. I will watch it later. I am grilling today and I know my dog is trying to get at the little grease drip pan under the grill!

    By the way, I have started playing this in my routine at around 100 bpm and will take it up from there.

  43. #92
    Quote Originally Posted by Vladan View Post
    You're all hypnotized, no other explanation.
    Have to find those sunglasses, aliens might be just around the corner. And some bubble gum, so I could get out of it at appropriate moment.


    Sent from VladanMovies @ YouTube
    Meaning no offense, do you have to keep making snide comments? We're discussing Troy Grady; you've established that you think his stuff isn't worth the money or that useful. Cool, that's fine.

    But when you keep coming here and making snide remarks it moves from having an opinion to being a twat. Let us drink our goddamn Kool-Aid in peace.

  44. #93

    User Info Menu

    Quote Originally Posted by mr. beaumont View Post
    Nah, really doesn't work with my grip. Specifically the slant that points towards the floor.

    No biggie, I'll survive
    Well, if it is of comfort, I hold the pick forwards and it is slanted, but still, I can not play fast. Many players hold it backwards and they either can, or can not play fast. Even players who may consider them selves not being "slanters" at least at the very moment of actual pluck they either let the pick a little "give", which equals slanting one way, or deliberately fight against the "give", which equals slanting another way, it's especially noticeable on hi speed hi res camera footage No matter exactly, it is inevitable, still, some can play fast, some can not.

    Anybody, including my self, can be trained to spit out couple of licks/ scales really fast, regardless of weather we practiced "slanting", or whatever.

    I conclude the clue is in something else.

    BTW, if I remember correctly, can not switch to other app now to check your clips, your pick is slanted too. Simply put, slanting .... What was that disco song ... Ooh oh oh oh, ah ah - Could it be that ...


    Sent from VladanMovies @ YouTube
    ^ ^ ^
    <<< My BlogSpot Page >>>
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  45. #94

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    Quote Originally Posted by Shadow of the Sun View Post
    Meaning no offense, do you have to keep making snide comments? We're discussing Troy Grady; you've established that you think his stuff isn't worth the money or that useful. Cool, that's fine.

    But when you keep coming here and making snide remarks it moves from having an opinion to being a twat. Let us drink our goddamn Kool-Aid in peace.
    You are right, I posted response to Mr. Beaumont before reading your post. I will not make further TG comments, unless someone specifically ask me to make one.



    Sent from VladanMovies @ YouTube
    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  46. #95

    User Info Menu

    Quote Originally Posted by Vladan View Post
    Well, if it is of comfort, I hold the pick forwards and it is slanted, but still, I can not play fast. Many players hold it backwards and they either can, or can not play fast. Even players who may consider them selves not being "slanters" at least at the very moment of actual pluck they either let the pick a little "give", which equals slanting one way, or deliberately fight against the "give", which equals slanting another way, it's especially noticeable on hi speed hi res camera footage No matter exactly, it is inevitable, still, some can play fast, some can not.

    Anybody, including my self, can be trained to spit out couple of licks/ scales really fast, regardless of weather we practiced "slanting", or whatever.

    I conclude the clue is in something else.

    BTW, if I remember correctly, can not switch to other app now to check your clips, your pick is slanted too. Simply put, slanting .... What was that disco song ... Ooh oh oh oh, ah ah - Could it be that ...


    Sent from VladanMovies @ YouTube
    Heavily slanted, downward.

    Like I said, I'll make it. I don't consider hammer on and pull offs dirty words
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  47. #96

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    Quote Originally Posted by mr. beaumont View Post
    From what I've watched, it seems the pick slanting thing only works with the "Mel Bay" pick grip...not my ass-backwards "Benson" grip that I thought was the only way to hold the pick until I started joining internet forums.

    Bummer, looks like it works. But waaaay too late in the game for me to fundamentally change how I hold the pick. That ship has sailed.
    Really? I change the way I hold the pick depending what week it is. (Almost...) I spent about half of 2016 Benson picking, and I am now back basically to trad grip. I retrained myself from UWPS alternate to DWPS Gypsy picking back in 2011 (although it took about 18 months for my technique to really start sitting). It can all be changed.

    Amazing how quick you can adjust if you prioritise something. The question is, do you want to?

  48. #97

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    Nope

    I've done one thing for 25 years. Have no time or desire to change.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  49. #98

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    Quote Originally Posted by mr. beaumont View Post
    Nope

    I've done one thing for 25 years. Have no time or desire to change.
    Sensible chap.

  50. #99

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    Quote Originally Posted by christianm77 View Post
    Sensible chap.
    Have to be. COULD chase it all, but I'd never get anywhere. At this point in my life I need to pursue where I've made ground and have hopes and dreams for others where I havent.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  51. #100

    User Info Menu

    Quote Originally Posted by mr. beaumont View Post
    Have to be. COULD chase it all, but I'd never get anywhere. At this point in my life I need to pursue where I've made ground and have hopes and dreams for others where I havent.
    Well, I dunno. Practice what interests you, nothing more.