Conference napalm::guitar

    Maybe this is a little clearer:
    
    4/4 pattern would be      T 1 2^3
    3/4    "                  T 1 2 3
    6/8    "                  T 1 2 1 3 2
    
    T = thumb
    1 = first finger
    2 = middle finger
    3 = ring finger

         
    Any players out there use a circular motion for picking with a flat
    pick ??  I've been experimenting with it latley and have been able
    to pick much faster and more acurately than with normal alternate
    picking. I understand that Ritchie Blackmore uses this technique.
                                                                     
    Comments ??
    -Tony

    The real fast players I know of avoid circle picking.  They all feel
    that its a waste of energy, and that all motion coming from the wrist
    of the forearm is the best route to go for speed and accuracy. 

    re :- .1 except Ritchie Blackmore who was using circle picking 15
    years ago...
    
    dbii

    Some people find that circle picking helps, others don't.  At
    supersonic speeds, the circling probably disapears anyway.  Ideally,
    we would all start at age four and develop just the right muscles
    for optimal movement, but most of us didn't so we do things to
    compensate.  For speed, I've always used 99% wrist and 1% arm (until
    tendinitis shut me down), but I don't recommend it.
    
    Bob

    So how about some unique picking patterns?!?!?
    
    Mike

    I've done a lot of thinking about this, asked a lot of questions,
    watched a lot of players, and made a lot of experiments.
    
    The conclusion I came to is hardly a relevation as its mostly
    an affirmation of my experience and observation:
    
    	1) The most efficient method for speed picking is to generate
    	   the motion from the arm.  Your wrist should be kept pretty
    	   loose.  It should sorta "flop" a little bit as the result
           of your arm motion.
    
    	   The real "secret" of speed picking is to be able to do it 
    	   without tensing your arm or wrist.  Tense your arm or wrist
    	   and you get cramps.
    
    	2) Expression comes from the wrist.  That is, adding nuances
    	   to notes comes from what you do with your wrist and hand.
    
    This really means there's a dichotomy between speed and expression.
    However, there is NO trade-off.  You do not have to choose between
    being fast and playing with expression (even though there are folks
    who believe that so I better explain before we get the inevitable 
    lecture about the importance of style over speed).
    
    What this means is that to be a "complete" guitarist (expression and
    speed), you have to be able to pick from your wrist when you are
    playing slow.  As you go faster and faster, you want to use less
    wrist and more arm.
    
    Watch the REALLY fast players (Blackmore is a great player but speed
    is not his particular forte) and you will see that this is what most
    of them do.
    
    	db

    Actually, one issue I haven't resolved is whether to take
    small strokes or large strokes when playing fast.
    
    That is, how large a sweep does the pick make.
    
    I find that I can go fastest on ONE STRING by taking small strokes,
    but I found that if I'm doing something that involves several
    strings that it's easier to take medium size strokes as you use
    almost the same motion when "jumping strings" that you use 
    staying on one string.
    
    I.E. If you use small strokes, you need a "big stroke" to get
    to the next string.   So it's a change in your overall motion
    and usually it doesn't sound "even" (the first note on the new
    string sounds different).
    
    If you use large strokes, jumping strings doesn't disrupt your
    rhythm/motion quite as much.
    
    I lean heavily towards using a medium size motion, but I've seen
    guys that pick in tiny little patterns until they jump strings.
    
    	db

    Thanks for the info on building up speed.  I'm sure that will come
    in handy with the patterns I currently know.  How about some picking
    patterns based on time signatures?  Three are listed in .1, are
    there anymore that I could learn?
    
    Mike

    
    When I play fast (and when I'm not using circular picking) I tend
    to try and keep the pick at a consistant height.  Digging the pick
    in wastes times and effort so I try and glide the pick over the
    strings and only move the pick in or out (as such) when I am skipping
    to a non adjacent string.
         
    -Tony

    A local guitar shop is having a clinic in 2 weeks featuring Chris
    Proctor, 1982 National Finger Picking Champ.  Anyone ever hear of this
    guy?
    
    Mike

    I've heard of him.  Obviously, he's very, very good.  Has a few albums
    out.  Where's the clinic?
    
    Rodney

    Chris Proctor will also be at:
    
    The Guitar Shop
    Scottsdale, AZ.
    
    on October 16th.
    
    Mike

    
    Can anybody give me any info on the technique and application of
    cross-picking.
          
    I've got the basic idea but I fail to see how it can be more effective
    than alternate picking mixed with short attacks of sweep picking.
         
    -Tony

I've heard the term "cross picking" used mainly in a bluegrass context where
the basic idea is just playing a repeated arpeggio pattern on three strings
while varying the fingering on those strings.  That's a slightly simplistic
definition, but the essence os it is just playing arpeggios with a flat pick
and letting the notes sustain as a chord.

Lots of bluegrass players use cross picking on the B part of the tune, Bill 
Cheatham.  It's also useful in song accompaniment, especially if the guitar is 
the only instrument.  If you're playing standard rhythm accompaniment while 
singing, you can use it to play a full sounding break without sounding like
lead-without-rhythm.  Very useful on a slow song.

It works a lot like Scruggs-style bluegrass banjo riffs.

Bob

    I was really impressed with the Chris Proctor clinic here last night. 
    I highly recommend it for acoustic/electric players in Colorado Springs
    on the 19th.
    
    I was expecting a big commercial for Taylor guitars, but it was very
    practical!  There was about 4 handouts with examples of his fingerstyle
    patterns in standard & tab, some exercises also.
    
    He also did a decent review of equipment, accessories, pickups (he used
    a 2 pickup system with a mic), alternate tunings (this was the best
    part and made it all worth while!), slide playing.
    
    Neat slide trick I learned last night: after playing a harmonic on the
    first 2 strings, take your slide BEHIND the nut and run it up the bottom 
    2 strings.  Neat sound effect!
    
    Mike

Reposted from COOKIE::FOLK_MUSIC 614.*  < PERSIS COFFEEHOUSE, Chelmsford, MA >:

                            Friday 9 February 1990
                   <<< GEOFF BARTLEY  -&-  CHRIS PROCTOR >>>

     Join Us For An Evening Of Superb Guitar-playing And Original Music
     Featuring Two Great Performers.  You'll Hear Folk-Blues From
     Singer/Songwriter Geoff Bartley As Well As Innovative Acoustic Music By
     Chris Proctor.  An Entertaining Twin Bill!
     [Featured Dessert: Cherry Cheesecake]
     Author's note:  I've seen Geoff Bartley twice before at Persis and,
     as your attorney, I advise you to catch this act   :7)   :7)   :7)

                 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    ALL SHOWS 8 PM
    $6 at the door (FEB)
    
    PERSIS COFFEEHOUSE IS A FUNDRAISER FOR THE FIRST PARISH CHURCH U.U.,
    CHELMSFORD, MASS.  FOR INFO, OR OPEN STAGE BOOKING, CALL 508-256-9465.

or hit <KP7> and look for Note 614.*

    I saw Chris when he was in Phoenix.  I only payed $5 for the clinic
    here (na na na na na).
    
    It was worth it!
    
    Mike

                         
    Does anybody know the name of the following finger-pick?
    It's slipped my mind.
    
    
time =   1      2      3      4      5      6      7     8

strng
1--------x----------------------------------x-----------------------------

2-----------------------------x-------------------------------------------

3----------------------x---------------------------x----------------------

4-------------------------------------x-----------------------------------

5-------------------------------------------------------------------------

6--------x----------------------------------------------------------------

re: .21

                         
>    Does anybody know the name of the following finger-pick?
>    It's slipped my mind.
    
Well, picking patterns don't tend to have names, and good finger-pickers
don't confine themselves to patterns, but...

That style of picking was often called "Travis picking" back in the
"folk revival" of the sixties.  Anyone who has ever actually *listened*
to Merle Travis' playing would be appalled, of course.  He's much too
fine a player to stick to repetitive patterns.

-Hal