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  1. #1926

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    Sorry for resurrecting this thread..

    I just stumbled across another thread regarding Benson’s technique, which I’d never taken notice of before - probably because I have other favourites on guitar. I noticed my picking technique is remarkably similar to this, though my pick is a bit smaller and I choke up on it more (right index finger super close to the strings). Are there any advantages and disadvantages to this technique? Obvious one might be “well benson uses it” so you could play quick. I alternate pick quite a bit.

    cheers

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  3. #1927
    To be brief:
    Advantages: Less forearm movement. Very relaxed arm and mainly wrist movement. No tension. Lends itself to rest stroke playing and alternate playing.
    Disadvantage: Hard to mute ringing strings. Hard to Hybrid pick.

  4. #1928

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    Quote Originally Posted by Philco
    To be brief:
    Advantages: Less forearm movement. Very relaxed arm and mainly wrist movement. No tension. Lends itself to rest stroke playing and alternate playing.
    Disadvantage: Hard to mute ringing strings. Hard to Hybrid pick.
    Great thanks,

    This is what came most naturally to me, try not to put too much thought into it. My ears tell me.

    Maybe my technique is a bit different then, because I don't get ringing strings (I think the base of my palm is close enough to the strings, and my palm is parallel. Looks like Benson's palm is 45 degrees to the strings?). I also don't like hybrid picking, so no worries there.

    I'll have to read through this thread at some point..looks a little daunting though.

  5. #1929

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    Man, I used to check this thread every day!
    Still think it's one of the crown jewel threads of this Forum, and thank God a patient pro such as Philco kicked it off and kept it running smoothly. Patience and generosity are virtues and he exhibits them here in a most admirable way.

    Benson picking turned out not to be the thing for me but it was a crucial step in my 'journey' toward tolerable picking. (Not all the way there yet but I think I see---could it be?---land, ho!)

    Long may it wave!

  6. #1930

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    Well, finally got through all the posts on this thread. Someone mentioned the similarities of this technique and playing with the thumb. I used to play with my thumb, so it’s no wonder I naturally held the pick like this..

  7. #1931

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    He posted in another thread on Benson picking.

    I assume everyone here knows who he is, and of his connection with George Benson.

    Actual Examples of George Benson Picking

    See post #31

  8. #1932

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    thought it was worth another contribution to this thread because last night i moved my right arm and started approaching the strings more from below - and the bright sunshine of facility burst out from behind the dark clouds of clumsiness - which was nice(so if you're coming from traditional picking you're used to your hand coming at the strings from above and hanging over them - then when you try Benson picking you may like me start running your arm sort of along the strings - but you have to go yet further from normal picking posture and come UP to the strings from below them. maybe I was concentrating so much on my hand and grip and the pick contact with the string that i failed to think enough about my whole arm....)this thread is so long - it seems to me - because people are bewitched by the idea that it 'isn't them' its some minor technical thing they can pick up easily and then they'll get there. we go back and forth manically - one minute analysing the physical details minutely - the next expounding on the theme of personal greatness and uncopyable genius etc. etc.its confusing -my breakthrough last night makes me believe - maybe for two or three days tops who knows - that my 'block' was merely technical and that now that I've got my arm/hand right I'll get where i want to go.anyway - hope this further observation about the technique helps someone - if you follow Mark Rhodes link in previous post from last year the first clip captures the idea perfectly - he's clearly coming up to the strings from below.....
    Last edited by Groyniad; 10-21-2019 at 04:21 AM.

  9. #1933

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    After five years of this I conclude muting is a pain in the arse.

  10. #1934

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    i had a muting breakthrough the other day too! - i'm working on doing it all with the left hand - i was very annoyed when I first discovered this because it seemed like a huge left hand revolution - but it seems to come quite naturally - the main thing is letting a finger touch a thicker string that has just been left behind as you play on the thinner string.... - but still - was this a bit of a non-sequitur??

  11. #1935

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    This young player appears to have studied George's right hand technique also.


  12. #1936

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    Quote Originally Posted by djg
    this should be super helpful to anyone interested in the technique.



    Great clip! I'd never heard of this guy. Clearly knows his stuff. Thanks for posting.

  13. #1937

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    New videos posted every week with tons of great info about this subject.



    The George Benson Method - Home | Facebook

  14. #1938

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    These two videos got very little in common with Geroge Benson picking. Second one, actually got notting in common with GB picking.

  15. #1939

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    Quote Originally Posted by mikostep
    These two videos got very little in common with Geroge Benson picking. Second one, actually got notting in common with GB picking.
    I assume you are referring to post number 1935 and 1936

  16. #1940

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    Ups, 1936.

  17. #1941

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    Quote Originally Posted by mikostep
    These two videos got very little in common with Geroge Benson picking. Second one, actually got notting in common with GB picking.

    sigh

  18. #1942

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    GB secret is in the LEFT hand. Right hand is listening to the left.
    At this point I can play all the lines with GB grip and with normal grip. By grip I mean how I hold my pick. GB grip is faster and more comfortable because hand is not stiff when I use it.
    So, when you hear someone talking about the picking technique you should always think about the left hand too because both hands work together. I've watched a lot of Troy Grady videos and altough they explain right hand movements they don't delve into left hand fingerings (well, maybe occasionally).
    It is interesting that scale fingerings usually shown on internet are using mix of even and odd numbers if notes per string. This confuses the right hand. But, if you restructure your scale to have only even notes per strings you will instantly experience fluidity. This is large work but it's worth.
    Next step is to learn how to deal with odd number of notes per string lines. Here can help following: calculate to always have upstrokes when changing strings, use hammer ons and pull offs.
    Other things that should be involved are staccato playing (because it brings softness), bee picking (with tip of your pick, always touching strings, it brings speed), rest stroke (stability, most of the time I use this), sweeping.
    Another very important thing regarding picking is a topic less talked about when we mention picking. Its scat singing. There's a saying in jazz idiom: If you can sing it you can play it. So, listening to scat players, how they scat the lines and learning those exact words (not things like "one cup of tea") but words like tagadaga, bawlia with letter l which helps with triplets etc. When you can sing your lines like this both of your hands will listen. It's the next level.
    After holidays I'll try to make a short video and show all of this if someone is interested.
    Last edited by mikostep; 12-24-2019 at 03:03 AM.

  19. #1943

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    One thing I would like to add to reinforce the importance of left hand is that now that I know a lot of lines and how to construct them to specific rules it really does not matter if I play GB grip, standard grip or with thumb. For me it's the same thing with only difference of using more hammer ons and pull offs when playing with thumb in order to compensate the speed.
    Another thing to singing/scating that goes along with playing can be heard in this interview with Richard Bona where he says that he wasn't born with perfect pitch, but since from his early childhood he sings while playing, he developed it because he get to know and control his vocal range so now he can instantly say what note is played in sing. So there are other important benefits.