#16
|
||||
|
||||
There's life beyond travis picking ...
__________________
Barry Sad Moments {Marianne Vedral cover}: My SoundCloud page Some steel strings, some nylon. |
#17
|
|||
|
|||
Quote:
__________________
Guild D25 (1973) Guild GAD m120e (2013) Taylor 324 (2014) |
#18
|
|||
|
|||
Quote:
Not really difficult at all, if you shape your hand in a "claw" position. Most of us have already learned how to pick "up"... the "down" stroke is very similar to what "clawhammer" banjo players do all the time. The thumb is not needed to emulate playing with a pick, but instead works independently playing the bass licks. For a Free hand position guitar lesson, check out this link: http://users.eastlink.ca/~harleyspi/position.html The index (or middle) finger D/U D/U picking method comes more naturally with practise, and faster with time.
__________________
Harley Gibson C5 Classical (Spruce/Brazilian): Open "D" Tuning Breedlove Retro D/SMe: Standard "E" Tuning Gibson Keb Mo Bluesmaster: Open "D" Tuning Alabama Irish Tenor Banjo (4 String): Double "C" Tuning Bart Reiter OB Banjo (5 String): Double "C" Tuning "Every Breath You Take" (Police) Solo in Open "G" Tuning "Wild Horses" (Stones) Demo in Open "G" Tuning |
#19
|
|||
|
|||
I wouldn't say it is that easy. It takes time. Clawhammer is one technique. You can also watch videos from Jon Swift on YouTube. He explains very well. He uses a hand rotation to get the downstroke.
It took me at least 2 weeks to get something. But I'm average player. Try it! It's really amazing.
__________________
1997 Martin OM42-PS 2002 Martin PS2 2010 Guild F30-R |
#20
|
|||
|
|||
It's pretty much anything goes. If it fits the meter of the song/piece then that's what you need to do.
Patterns are training aids. The ultimate use of them will find you mixing them to suit each piece of music you're playing. Strict use of a particular pattern isn't a bad thing. It lends well to ensemble rhythm work. Otherwise, I tend to mix it up for the most part. The one thing I do that isn't always the best thing to do is never playing the same thing the same way. IOW, sometimes one way sounds better than another. But, that's all part of the honing of a particular song of instrumental, which is something I will rarely do these days. Free style picking - no discernible basic pattern - is where I tend to gravitate to now. It's a world of mixing patterns, syncopation and styles. Strict rhythm, single pattern work is something I'll do for ensemble stuff but I prefer free style. That's where the fun is for me. |
#21
|
|||
|
|||
Quote:
|