Agreed!

Yeah... me too! I thought very weird but now it makes sense!

Wobbly and I just realized that yesterday.. lol

Me too! I always thought it was him being a bit flamboyant and eccentric. None of his peers picked like that so it came across as some anomaly that he uniquely made work.

Wait, I’m dead?

@@marbinmusic RIP Django Reinhardt lol

@@werbnnerf I thought Dani Rabin

great

Thanks bro. It predates modern picking. Oud technique

Change something physical. You are doing something wrong

no you will never be able to do that. you have to learn a vocabulary of lines that work with the technique rather than try to play the same patterns and make the technique fit

String height

treguiers it's just alternating down up

Yes, and he didn't mention it but you can also use hammer-ons and pull offs in this style, they are actually used quite a lot since this technique has a speed limit if you want to pluck everything note individually

Luis Lucchesi Marino yes it is

@@danihrabin thanks man, good job

Listen to some fast solo from Stochelo Rosenberg and similar, that should give you a pretty idea of how fast someone who devoted their life to that style can go. If you listen to his sound, you realize that even in extremely fast passages he keeps somewhat the dynamics of the style. When he does not, he does on purpose rather than for sake of speed I think. Anyway, in the moment you introduce clever dynamics in picking, you can sound much faster than the metronome might suggest. "speed" is a function of the ability of the listener to follow what you are doing. If you make that more complex or exciting, it will feel way faster to the people listening, compared to a flat 16th notes run with no dynamics changes. That's because the brain gets way more to process.

I don't play this way strictly while playing electric but learning how to play like this was very useful technically for electric playing. but I would learn how to play both ways

can you give examples of gypsy jazz runs (you did something like that in the middle of the video) and tell where you pick down and where you pick up?

You probably need a Skype lesson

@@marbinmusic Maybe so. Would you please first answer this question for me: If one can play fast lines with the half-rest stroke then why not use it exclusively and do away with ever alternating the picking motion? How do we set up a Skype lesson?

@@danielsheltraw8773 the whole point of this picking style is for the strokes to follow the phrases and color them a certain way. It’s way more of an articulation issue than a technical efficiency issue. You pick certain patterns a certain way to make them sound in the style of that makes sense.

Alexey Nagornov let them ring it a part of the sound gypsy lead playing had no muting

Nick Knirk I don‘t think you are missing something. Just, after an insane amount of practice the descending arpeggios can be played quite fast as well. Watch the many videos of Stochelo Rosenberg with close up right hand camera. Some of the champs, like Joscho Stephan, would also change the direction of the pick and sweep upwards if they want to get super fast on an descending arpeggio. Btw, this is an excellent video!

You don't, with rest stroke technique your will get so much sound out of the high string that the sympathetic vibration of the low string will barely be audible (if that's what you're asking)

makes sense thanks. I'm a natural upward pick slanter, so this helps with learning yngwie and eric johnson stuff

There is no muting in gypsy technique, it’s all about picking accuracy

@@danihrabin thanks...!! So you don't mute 4,5,6 open strings? If you have free time, please make a video how to practise the picking of this technique...!! I will wait for that! And again thank you! It is really helpful

Y James go to Facebook.com/marbinmusic and look through the video tab. There are many instructional vids I made there

This is a problem that I'm experiencing as well. I always wondered why Hendrix often had his thumb covering the top strings. I think this might explain it, since he's known to have curved his right hand in the same way. That said, it doesn't seem to be a problem for Dani, and he doesn't appear to be using his thumb to mute the strings, but he still achieves great tone without any apparent racket coming from the low strings. What gives, Dani? Could you please shed some light on the subject? Thanks!

I think it is not a problem but a asset. Sympathetic resonances creates a natural reverb on a guitar that's meant to be fast and loud, with little sustain. So,, resonances are part of the sound, and not too proeminent given the loudness that technique provides for the notes that are actually played. And well, if you have to mute something, you can always flatten your right wrist or use your left hand to eradicate the awful mistake. Or use your nose :-D

With rest strokes your sound is so loud it doesn't matter if the rest of the strings vibrate.

Sacco Belmonte thats right. also on acoustic guitars the other strings don't resonate that much like in electric guitars, and, with enough practice you shouldn't create any unexpected sound

rafapak D hole Gitane D500

thanks for reply

cigano gj15

thanks for reply