octatoan
Acoustic tech-death!
Wow, thanks.
So, uh, where can I learn the "how to"? I mean, how did you learn all this? Books?
So, uh, where can I learn the "how to"? I mean, how did you learn all this? Books?
Alt picking from wrist or arm??
- Thread starter meteor685
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About everything but the fact that we have to "slant" as he says the path of the pick to skip strings. Which's a first good step.
Troy is essentially an all-forearm player. He changes strings with forearm flexion/extension but strikes and skips with pronosupination only.
Since pronosupination radius is too high to rise above the string plane between every stroke, Troy needs to choose, by slanting his hand in a way or the other (which is postural pronosupination), between the ability to handle either downward inside and upward outside picking, or downward outside and upward inside picking.
His technique is like a V-engine with only one piston for two cylenders. Troy ignores that we can add another piston and assumes that all good players have one piston.
Anyways, that is enough for 3nps and 2nps, but not 1nps. Changing the slant angle between each strokes consists in an extreme pronosupination motion that doesn't work. A long time ago I thought pronosupination could handle 1nps alone, or mostly alone, this cost me many years of severe tendinosis and depression. Troy is on the right track but he needs to test the limits of his hypothesis and try more techniques to improve his proprioceptive awareness.
My how-to is lot of trials and lot of errors...
Troy is essentially an all-forearm player. He changes strings with forearm flexion/extension but strikes and skips with pronosupination only.
Since pronosupination radius is too high to rise above the string plane between every stroke, Troy needs to choose, by slanting his hand in a way or the other (which is postural pronosupination), between the ability to handle either downward inside and upward outside picking, or downward outside and upward inside picking.
His technique is like a V-engine with only one piston for two cylenders. Troy ignores that we can add another piston and assumes that all good players have one piston.
Anyways, that is enough for 3nps and 2nps, but not 1nps. Changing the slant angle between each strokes consists in an extreme pronosupination motion that doesn't work. A long time ago I thought pronosupination could handle 1nps alone, or mostly alone, this cost me many years of severe tendinosis and depression. Troy is on the right track but he needs to test the limits of his hypothesis and try more techniques to improve his proprioceptive awareness.
My how-to is lot of trials and lot of errors...
Slanting is not necessary below a frequency of 5 skips per second, one vertical motion might be enough. When the main picking motion is totally parallel to the strings plane, it's the only resort.
Above 5 skips it is necessary to slant a bit, in a way or the other, but it's not something always visually noticable, especially as a 10° angle can do the job. The diving downstroke slant is visually obvious, whereas the rising downstroke slant can look horizontal, actually, the more you slant that way and the more it looks horizontal (ex. Shawn Lane)
Above 5 skips it is necessary to slant a bit, in a way or the other, but it's not something always visually noticable, especially as a 10° angle can do the job. The diving downstroke slant is visually obvious, whereas the rising downstroke slant can look horizontal, actually, the more you slant that way and the more it looks horizontal (ex. Shawn Lane)
karjim
Set the World Afire
I've noticed Troy made exaggerated movements to invert the slant of his pick. He almost break his wrist to downward. But he seems really ok with that considering he can nail Eric Johnson's hybrid stuffs such as Meola straight alt pick.
He made a cool job explaining the weird Yngwie technique, I've never understood before why his phrasing was so unusual. I didn't realize all the tricks he has to eliminate the pendulum system.
He made a cool job explaining the weird Yngwie technique, I've never understood before why his phrasing was so unusual. I didn't realize all the tricks he has to eliminate the pendulum system.
Yngwie doesn't play like Troy ; he generally uses the wrist flexion/extension as a "2nd piston" instead of changing the slant angle. But in an incomplete, undertrained way.
Let's take
Down-Up-Down
------------------Up-Down-Up
Troy :
-----------diving pronation
-----------rising supination
extended diving pronation (reverses the slant angle)
-----------diving supination
-----------rising pronation
-----------diving supination
Yngwie :
diving pronation
rising supination
diving pronation + rising wrist extension
rising supination + diving wrist flexion
diving pronation
rising supination
Let's take
Down-Up-Down
------------------Up-Down-Up
Troy :
-----------diving pronation
-----------rising supination
extended diving pronation (reverses the slant angle)
-----------diving supination
-----------rising pronation
-----------diving supination
Yngwie :
diving pronation
rising supination
diving pronation + rising wrist extension
rising supination + diving wrist flexion
diving pronation
rising supination
thatguyupthere
is rockin out
I do it with my thumb and index finger + wrist. I find I get more versatility/ flexibility like that.
DanieleSpadavecchia
New Member
One of the most important things to realize is that wrist flexibility and agility have to be fully developed. Using some finger motion to adjust the pick should help in creating different string attacks and angles to have a better tone. The forearm or shoulder movements should only be passive following the wrist to avoid tension that would accumulate instead by locking them.
Imagine that your wrist is the link between shoulder/arm and fingers.
Movement of wrist should be developed in different ways:
-across six strings (and later groups of strings like the first 3 or 4) for flexibility and relaxation
-on one string at the time for speed and dexterity
-on string crossing after you get six/single string worked out
Keep in mind two important things:
-work more on upstroke exercising because we are naturally weaker by having to fight gravity
-always start your strokes by first touching/resting the string you are going to pick, so you are not hitting from a distance but plucking it instead
Imagine that your wrist is the link between shoulder/arm and fingers.
Movement of wrist should be developed in different ways:
-across six strings (and later groups of strings like the first 3 or 4) for flexibility and relaxation
-on one string at the time for speed and dexterity
-on string crossing after you get six/single string worked out
Keep in mind two important things:
-work more on upstroke exercising because we are naturally weaker by having to fight gravity
-always start your strokes by first touching/resting the string you are going to pick, so you are not hitting from a distance but plucking it instead
Patrick Roberge
Patrick Roberge
Hello All,
For the average, the wrist is doing the job on the string and the arm is doing the job to change from string to string. But, there is no perfect science cause there are so many incredible guitarist that are going it differently. I belive to start with the technique that make you feel the more confortable. I suggest to try all of them, you'll find that seem more naturel for you.
For the average, the wrist is doing the job on the string and the arm is doing the job to change from string to string. But, there is no perfect science cause there are so many incredible guitarist that are going it differently. I belive to start with the technique that make you feel the more confortable. I suggest to try all of them, you'll find that seem more naturel for you.
