😂😂

Imo not really that unique, check Joscho Stephan for example kzfaq.info/get/bejne/l7aHZtyKqtexYas.html it's pretty much the same thing (the movement, maybe the grip itself is very slightly different). I believe Troy covered it already in one of his videos.

In actual practice this motion feels more like a flat side to side motion. The curved aspect is undetectable to the player and Andy himself can’t feel that he’s doing it. If you actually feel any up and down component, you’re probably making a motion that’s too bouncy, aka “stringhopping”

There's not a "border", per se. They're just different movements. Stringhopping uses the same muscles on the downstroke and the upstroke, while efficient double escape uses different muscles and is "alternate" picking in the truest sense of the term, i.e. half the muscles rest while the other half works. In general, stringhopping will produce arm tension and a speed limit. Efficient motions don't have arm tension and don't feel like they have a speed limit. So the simplest thing you can do is make sure you can go fast first, even if it's sloppy - like a teenager would who is just simulating "air guitar" on a real guitar. If you can do that, at real playing speeds, and don't feel any particular muscle strain, that's the best test we have for knowing if you have a found a motion that is efficient. It's ok if the notes are all wrong, you have to start somewhere. And efficient motion with wrong notes is a better starting point than stringhopping motions with 100% correct notes, which is where a lot of people get stuck.

@@troygrady Heh, yeah.. that's exactly what I'm trying to unlearn right now. Thanks for guidance!

Very similar! German grip wrist motion is closer to 12 to 6 flexion-extension motion. French grip is more what we call a "dart thrower" motion, not quite 9 to 3 deviation, but very close to it: 10 to 4.

After spending time with this I noticed I was varying the technique to reach the higher strings using a little extension to reach the higher pitched strings and a little extension to reach the lower. I’m guessing this is the cause of my inaccuracy cus it literally created chaos. Do people use a little of both like 10 -4 motion you mentioned with the french. I may not be explaining myself correctly cus I don’t have a very topographical brain but one technique takes advantage of flexion to change the angle of the pick and one extension never a bit of both

5 mins a day is enough. I can see an improvement every day even when I practice just 5-15 min a day. You can take your guitar with you and practice during lunch time. You might not progress as quickly as others that practice 4 hours a day but that shouldn't be a reason why you can't practice.

Thanks!

Bryan has a double escape motion when playing slow, and it's a mix of wrist and forearm. When playing fast his technique appears to be mostly wrist, and it's no longer double escape. It's downstroke escape, with a 2 o'clock wrist motion, similar to what Andy Wood does when playing fast. There's a clip here on KZfaq that someone shot over his shoulder at a festival where all of this is easy to see. To be clear, this is not a knock on Bryan - he's an amazing player. The genius of amazing players is that they learn a complex stew of motions without anyone teaching them, and switch between all these motions at a subconscious level.

@@troygrady thanks so much for the great reply, Troy. No, of course, and I don't mean to knock him either. He's a hero of mine, and I wasn't able to adapt to the tech. I'm really enjoying your work, and getting a lot from it. Cheers.

You might look into Complete Vocal Technique: completevocal.institute/complete-vocal-technique/ In particular, the concept of the four Vocal Modes has really helped me. I have been working best I can alone from the book--and improving--but the website lists certified teachers.

Great question. The answer is that a stringhopping technique uses the same muscles on the upstroke and the downstroke, and gets tired roughly twice as fast. Here's the more technical explanation ( kzfaq.info/get/bejne/gsp8pJN6u7q8fZc.html ). Whereas a true alternate picking motion (regardless of escape) uses one set of muscles for the downstroke, and an opposing set for the way back. This way each "team" gets to rest 50% of the time. So visual appearance isn't really the differentiator - it's which muscles are being used. In theory, anyway. In practice most stringhopping techniques have a more pronounced bouncy appearance, but this isn't always the case. We get players who do double escape motions that look nice and flat but they complain about very low speed limits, and that's how you know.

Certainly looks like a supinated player, for sure. We can nit pick how much but yes, somewhere in the EVH / Lee / Morse ballpark.

Martin is great of course, but this video is about wrist motion and the clock concept specifically, and that’s not really how Martin’s motion works.

@@troygrady is there any reasons why would one choose andy wood's technique (closed fist) over martin miller's anchoring ? both techniques seems to work with crosspicking

In general my advice is always to try all techniques and use whichever one you can actually get right now that works for the line you are trying to play. How many players can even play these lines, period, with speed and accuracy? Any technique is better than no technique.

If you start slow and try to get all the notes right, you’ll never reach fast speeds on roll patterns because the correct motions are too complicated to figure out. You have start at the target speed while allowing wrong notes to happen.

@@troygrady hey Troy, how do I eventually get rid of the missed notes as I reach for the higher speeds?

By gradually slowing down the fast and efficient form and trying to clean it up. The reason you can't speed up the slow form is because it's actually wrong. The fast form, even though it has musical mistakes, is actually more "correct" in terms of the motion. Check out this forum thread where we discuss the process in more detail: forum.troygrady.com/t/is-this-stringhopping-crosspicking-or/18594/5

Similar grip, similar arm position! There is footage of Eddie doing motions that look like double escape, but mostly at medium speeds. Eddie's really fast wrist motions still look like mostly like single escape to me.

That's definitely the best way!

You could say that about a lot of our stuff!

@@troygrady I love it!

Great players aren't really thinking during improvisation, on any instrument. All these things are memorized down to the level of the motions involved. It's not totally paint by numbers, there is still creativity. But the sequences of picking motions are memorized, because you wouldn't be able to do them fast otherwise.

@@troygrady I understand it, you need to play the notes one way or another. I just first came across one way pickslanting and found it too limiting. And than i saw the two way pickslanting video and than the crosspicking video and now i'm finally starting to get the results i want, thank you, Mr. Grady :)