More pick slant questions.

Discussion in 'Playing and Technique' started by amstrtatnut, Aug 12, 2018.

  1. negative.feedback

    negative.feedback Member

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    You have very nice vibrato. Your "timing" on some of your phrases could use some work and I only say that because your vibrato is so good. You just have to zero in on your timing. I didn't even watch you play fast. LOL When you have vibrato like that who gives a sh*t.
     
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  2. negative.feedback

    negative.feedback Member

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    Post a video of you playing extremely fast, musical lines please. So we know your philosophy is meaningful.
     
  3. negative.feedback

    negative.feedback Member

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    Not fast at all BUT very nice jazzy licks!
     
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  4. buddastrat

    buddastrat Member

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    Lol, I’d agree, 100% spot on with Vernon Reid. I always liked the players with good control/ finesse. In both hands. Picking is only one aspect of so much stuff. The players who pick most everything are never even as interesting to me. Too much scale, mechanical sound.
     
  5. Thumpalumpacus

    Thumpalumpacus Member

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    I love Reid's playing for exactly this abstract quality to it. Not locked into scales, not delivering ear-friendly tonalities ... a few years after I got into LC, I heard Coltrane for the first time, and JC made sense to me because I'd heard Vernon doing something of the same sheets-of-sound stuff with his hyperpicking.

    It is not always musical -- just as 'Trane wasn't always musical. But like Coltrane, Reid showed me that there's a lot of ways to play through pedestrian changes. It's kinda like taking a back road instead of an Interstate. Many more twists and turns, ugly spots where you have to slow down, but at the end you've enjoyed the drive because you've been somewhere that wasn't manufactured, paved, and regulated.
     
    Last edited: Aug 31, 2018
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  6. Tag

    Tag Gold Supporting Member

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    :facepalm

    Clip??

    :munch
     
  7. Tag

    Tag Gold Supporting Member

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    You do the same for the same reasons.
    :munch
     
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  8. Thumpalumpacus

    Thumpalumpacus Member

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    The fast playing I do isn't terribly musical. I generally use speed to tie different melodic segments together.

    Also, I don't really do video much, for lack of that sort of gear. Here's an old demo on my Soundcloud where I do a bit of fast playing -- again, transiting points in a song. Except for the intro up to the harmonized guitars, the solo is entirely improvised (from 1:08 on), not scripted. (Vernon's influence is sorta obvious later in the song).



    Take your best shot, make it good, and do post something of your own work, eh? Let's see whatcha got.

    ETA: catching up on the thread, I see you take your screen-name quite seriously.

    You'd better give me a great slag, then. I expect maximum negativity and would like to see creative use of the English language. Do it up right, brotha.
     
    Last edited: Aug 31, 2018
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  9. muzishun

    muzishun Member

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    This begs the question ..

    Why ya'll in such a hurry? And do you even lift, bro?
     
  10. blueworm

    blueworm Member

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    lol for the pink pants! :D

    Thanks for the comment. For the info most of what is on my SC is all written and played back (i.e. not actually played). I wish someday my son (who is good on the piano) would take the time to learn some of my stuff but he's into his own things which is great.

    For the picking there's nothing special about what I'm doing. Just regular alternate picking with some occasional sweep (what I call 'directional' picking). For the sweep stuffs I do angle my pick, as discussed in this thread, but otherwise not so much. The difficult part to me is always LH/RH synchronization. That's where you feel a major difference between executing pet licks as opposed to more impro stuffs (including connecting pet licks on the spot, which is what a lot of impro is about)
     
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  11. amstrtatnut

    amstrtatnut Member

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    Try this one. Its more my speed.
     
  12. amstrtatnut

    amstrtatnut Member

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    Awesome. A lot of you guys make me feel like a musical neanderthal. I guess the glass half full version of that is, a lot of you guys are inspiring. :)
     
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  13. Daniel Travis

    Daniel Travis Supporting Member

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    So far, from what I can tell, people are very threatened by Troy Grady parsing out the mechanics for us "hamfist" mere mortals that don't "just get it, maaaaan."

    And don't "naturally" play bad jazz wankery by "feel," or "organically."

    Quite interesting.

    The irony, is, of course, that those of us "hamfist" players who never could shred without the mechanics being explained, spent all of our time writing music and developing other skills, because that is what we could do.

    And now, thanks to TG, we can have both.
     
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  14. Tag

    Tag Gold Supporting Member

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    "Threatened" ???? Of course I can only speak for myself, but I am the first person to help anyone in their playing any way I can ...FOR FREE. If TG helped you, fantastic!!! Can you put up a clip before and after to show it?? IMO, its going to hurt FAR more people than its going to help.
     
  15. Daniel Travis

    Daniel Travis Supporting Member

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    It will take me a while to find an older clip with one of my bands where I'm actually doing a solo, but sure. Give me a bit, and i'll find some clips for you.
     
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  16. Daniel Travis

    Daniel Travis Supporting Member

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    https://www.reverbnation.com/werenotallthere/song/10119610-shes-sugar?source=artistMusic

    That solo halfway through is me at the absolute limit of my meager abilities in a band, a few years back.

    I'm certainly nothing impressive as far as alternate picking now, but TG's mechanics parsing has helped be on the right path, to be sure.





    Before I get the flames and hate for not being Michael Angelo Batio, let me remind you that because of my limits, I spent all my time writing songs for bands and learning other skills. TG has helped me improve the range of my toolkit. Now I have more colors to play with.

    Here is a recent demo track:



    Before diving headfirst into the mechanics of PS, I would never have had the balls to ad lib a solo on a demo. But there it is, warts and all.
     
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  17. blueworm

    blueworm Member

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    The glass is almost always empty for most of us actually :D
    One thing which I think is important wrt to this thread is that speed itself is not a technique. The picking motion is, but not the speed. If you check that Hank Garland clip on the Roy Clark thread it's perfect technique IMO. Not blazing speed but you can't be better than that. It's more of a crosspicking style like Andy Wood demonstrates to Troy Grady.

    You guys in the US have a great tradition of guitar picking with bluegrass which is worth digging it, even if you don't like the music so much, because it is very solid technique-wise. The other picking tradition would be the Gypsy style - which probably is derivative from traditional plucked instruments. Both gives solid picking foundation if studied thoroughly. And I think Troy Grady gave many insights on both techniques.
     
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  18. Daniel Travis

    Daniel Travis Supporting Member

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    @Tag I forgot to explain - the reason I hit such a blockade with speed is because my natural rhythm style is with the "top" of the pick extremely faced toward the bridge (trailing edge picking) instead of facing the nut as most players hold it, with a fairly extreme downward slant: here's a pic

    [​IMG]

    I developed this way, because it was easier for me to play the lightning-fast staccato triplets of thrash metal guitar - with maximum impact and accuracy.

    TG helped me understand that I can "massage" the up and downstrokes of licks to use my weird ass technique to my benefit instead of it being the disadvantage it always has been.(edit: when playing fast, alternate picked leads, specifically: it has only benefited me otherwise. I sound very different magical finger-tonally than most players, and it has made me write riffs in interesting ways)

    I just needed to understand the physics behind different techniques of string escape.
     
  19. jackaroo

    jackaroo Member

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    Tag....DUDE, I like that you’re trying to help.

    But please be honest. As nice as you are you should know you’re a bit of a lightning rod around here...and you can come off a little over the top sometimes.

    With respect, I’d say that your strongest suit is not executing clean alternately picked lines at high speeds. There’s a lot of slop in there. That’s not to say that you don’t have anything valid on the subject of playing etc...I like to read what you think, and occasionally I’ll see and agree with your point.

    Lastly, I respect you for posting your playing as well. At least you don’t just say what you think as if it was gospel and not show us what those thoughts lead to musically.

    BTW-I’m no hypocrite. I do not think my high speed playing is particularly impressive. When I try many of the speedy picking licks I work up in practice in live scenarios they’re pretty out of place and not that fluid or musical....yet. It’s my hope that as I continue to fold the techniques that allow access to higher picking speeds that the ideas and execution becomes more artful. For now, most of my fast stuff involves a mix of alt picking with the occasional economy stroke, sweep and a bit of pull offs.
     
    Last edited: Sep 2, 2018
  20. BriSol

    BriSol Member

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    I don't feel threatened by Troy. More than anything, I feel annoyed by him. What it comes down to is that I don't like his mentality and philosophy, and I don't relate to where he comes from musically (more or less, an 80's rock guitar nostalgist reaching their 50's). It's not that I don't like fast guitar playing, or that I'm a jealous ham-fisted player. It's that I don't like the musical philosophy or playing of most guitar nerds who come from that 80's shred thing, and Troy encapsulates it pretty well. Even if what he's talking about is true/useful, it is myopic.

    There is a line somewhere where I think if all you care about in music and guitar is putting people's picking technique under a microscope, you are "not getting music". That's the weird rub about Troy to me. He presents everything as this technical science project, yet can't seem to see the forest for the trees about anything in music. He seems like the poster boy for the type of person who doesn't get music yet is obsessed with pedagogy, and for the type of guitar player who can play pretty fast or proficiently yet has bad/stiff feel and has been "trapped" by 80's rock conventions.

    Bottom line is, the guy's persona rubbed me wrong from square 1. Too much grandiose pretense and market-speak, and his introductory videos more or less leaves one with the impression that he is looking at things through the eyes of a teenage boy in 1984.

    I realize he has expanded his content over time, and he often interviews or talks about players far outside of 80's shred. He still strikes me as a middling 80's rocker who is out of his depth talking to and about those guys, who only cares about picking mechanics.
     
    Last edited: Sep 3, 2018
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