| Author |
Topic: Specific pick-blocking question |
Asa Brosius
|
Posted 22 Sep 2015 7:43 am |
|
Wondering how you'd approach pick blocking this bit (E9 tuning), as a continuous roll (descending part not shown-think the run in reverse). Played fast, it works for me with bar tracking and traditional pick blocking, but my thumb gets a little busy blocking at the end- would you 'cross over' while descending with your index finger?
 |
|
|
|
b0b
From:
Cloverdale, CA, USA
|
Posted 22 Sep 2015 8:56 am
|
|
My hand position moves on the 3rd note, as I block the 4th string with my thumb. It moves back again to the 5th string when I restart the cycle.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
|
|
|
Mark Wayne
From:
Wisconsin, USA
|
Posted 22 Sep 2015 6:39 pm
|
|
Nice lick. I was doodling on my C6 practice board with that. Different notes of course but I was rhythmically playing it open: The edge of my palm blocks strings 5&4, then the tip of the ring finger blocks string 1, with palm again blocking string 3.
_________________
Mark Wayne Krutke
****markwayne.biz**** |
|
|
|
Mark Wayne
From:
Wisconsin, USA
|
Posted 23 Sep 2015 9:22 am
|
|
Are you pick blocking that Bob? If not, how would you pick block that?
_________________
Mark Wayne Krutke
****markwayne.biz**** |
|
|
|
Jeff Harbour
From:
Western Ohio, USA
|
Posted 23 Sep 2015 10:19 am
|
|
Starting with the second note pictured, I would end up with my thumb on 4, index on 3, and middle on 1. After that, it would depend on what strings are coming as to where I would go on the descent. After the last note pictured, I would likely end up with my index on 4, and thumb on 5. The same would apply for the first note pictured. It looks like it is slid up to (likely with Pedal A). This would be the thumb, unless the lower strings were involved before this note. A slid note is always a good time to switch string positions.
Jeff H. |
|
|
|
Jeff Harbour
From:
Western Ohio, USA
|
Posted 23 Sep 2015 10:28 am
|
|
One other thing to mention... This will likely get negative responses as to whether I am 'really' pick-blocking or not... But any time your picking grip switches to a different set of strings, any string ringing that ends up above your middle finger will be inherently blocked by the pick-less fingertips. Likewise, anything below the thumb will be blocked by the extended part of the thumb. To me it is still pick-blocking if your palm never rests down on the strings. If you are trying to put the picks down in 'every' instance, you are probably getting hung up with some inefficient movements.
Jeff H. |
|
|
|
b0b
From:
Cloverdale, CA, USA
|
Posted 23 Sep 2015 10:37 am
|
|
| Mark Wayne wrote: |
| Are you pick blocking that Bob? If not, how would you pick block that? |
Yes, I pick block licks like that. My philosophy is that anything you can do with your hands to control the strings is fair game. The most efficient way is the best choice and in this case pick blocking is the most efficient way for me. I've never been a real fast player, no matter what technique I use. 
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
|
|
|
Micky Byrne
From:
United Kingdom (deceased)
|
Posted 27 Sep 2015 1:46 am
|
|
There are so many ways to block. Individual's hands vary in size. Some guys have massive hands, some dont. I block mainly as the term used "pick blocking" ...but I'd be darned if I can explain how completely. It varies with individuals. I know with me, on ascending runs even the edge of my thumb on my bar hand will mute a string. Using a 10 string bar on my 12 string uni's helps to on "decending" runs.The "ringing" of the last note mutes as the bar move towards you. I suppose at the end of the day, we play a complex instrument, and lots of work is needed in practicing, but eventually a player will have his own way to accomplish things 
Micky "scars" Byrne U.K. |
|
|
|
Mark Hershey
From:
New York, USA
|
Posted 28 Sep 2015 11:28 am
|
|
I read an article by the late Bobbe Seymour that states the following:
"When it comes to picking and deadening strings both with the picking hand, it doesn't really matter how you do it. As a matter of fact, I know some awfully great players that don't pick block at all and even get offended if you ask them about it. "
It was a breath of fresh air to have read that from him. My right hand technique is terrible, I've stopped worrying about it as much and am having a lot more fun on the pedal steel. |
|
|
|
b0b
From:
Cloverdale, CA, USA
|
Posted 28 Sep 2015 12:07 pm
|
|
| Mark Hershey wrote: |
| My right hand technique is terrible, I've stopped worrying about it as much and am having a lot more fun on the pedal steel. |
How do you know it's terrible? If you're playing the notes you want to play and they sound good, there's nothing wrong with your technique.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
|
|
|
Mark Hershey
From:
New York, USA
|
Posted 29 Sep 2015 6:37 am
|
|
| b0b wrote: |
| Mark Hershey wrote: |
| My right hand technique is terrible, I've stopped worrying about it as much and am having a lot more fun on the pedal steel. |
How do you know it's terrible? If you're playing the notes you want to play and they sound good, there's nothing wrong with your technique. |
I mean by 'text book' standards it's terrible. I have the right hand Alpha Course. That's what I follow, I like the thumb and middle finger picking with the pinky extended and trying to use the crease of my hand to line up with the string I'm picking. I also try to hold that shape as I move from string to string. My hand falls apart as I'm playing but I have to say to my ear it doesn't sound to bad.
I agree with your philosophy, any way you can control the strings is fair game. I'm more concerned about having fun playing these days, and agree with Bobbe I'm just going to hope over time that it works out. |
|
|
|
b0b
From:
Cloverdale, CA, USA
|
Posted 29 Sep 2015 2:36 pm
|
|
Unnatural movements don't make good music, in my opinion. That "extended pinky" idea doesn't work for me at all.
_________________
-𝕓𝕆𝕓- (admin) - Robert P. Lee - Recordings - Breathe - D6th - Video |
|
|
|
Asa Brosius
|
Posted 29 Sep 2015 5:07 pm
|
|
| I appreciate all the responses. Having a proficient background in guitar, which translates roughly into most other fretted instruments, learning steel has been a continuous series of 'i can't believe that's what I'm supposed to do' moments. I'm drawn to fast clean picking, and recognizing that this only comes from putting in a tremendous amount of hours, I want to make sure I'm doing it right, no matter how unnatural it feels at first. I suppose I should ask the people (Paul Franklin) who make those sounds at speed. |
|
|
|
Jeff Harbour
From:
Western Ohio, USA
|
Posted 1 Oct 2015 4:48 am
|
|
It all comes down to what feels most natural. There truly is NO limitation to either picking method.
My proof of this is to compare Paul Franklin and Tommy White. They are both of the highest caliber for speed and clean tone... Yet if you didn't know it, you would never guess that they use opposite picking techniques.
Just listen to them play together on the 'Salute to the Big E' tribute album (with Vince on vocals). Perfection from both... That settles it for me.
Jeff H. |
|
|
|
