Speed strumming on one string

lincolnblue

I'm sure there's a proper name for this technique but I wonder if you can help.

I am a fan of Chris Buck's style of playing and really like when he strumms fast on one string/note as he does at 5mins in on this clip: 

Whenever I try and find the plectrum just catches on the string so I can't get a smooth strum. I've tried holding the plectrum at an angle to almost brush the string but then I lose the attack. 

Any advice on how to play this sort of thing?

Sporky

I believe that is tremolo picking. 

bobacco

lincolnblue said:

I'm sure there's a proper name for this technique but I wonder if you can help.

I am a fan of Chris Buck's style of playing and really like when he strumms fast on one string/note as he does at 5mins in on this clip: 

Whenever I try and find the plectrum just catches on the string so I can't get a smooth strum. I've tried holding the plectrum at an angle to almost brush the string but then I lose the attack. 

Any advice on how to play this sort of thing?

Two words: Troy Grady. 

Check out his ‘Cracking The Code’ series on YouTube and consider signing up to his site. Even if you just sign up for a month, that should be enough to go through his Pickslanting Primer which goes into picking in the most microcosmic fashion I’ve ever seen. 

Failing that, there is plenty of content around Troy’s nomenclature / technique breakdowns if you Google ‘pickslanting’ or similar. 

Start with the CtC YouTube stuff and branch out from there.

lincolnblue

bobacco said:

lincolnblue said:

I'm sure there's a proper name for this technique but I wonder if you can help.

I am a fan of Chris Buck's style of playing and really like when he strumms fast on one string/note as he does at 5mins in on this clip: 

Whenever I try and find the plectrum just catches on the string so I can't get a smooth strum. I've tried holding the plectrum at an angle to almost brush the string but then I lose the attack. 

Any advice on how to play this sort of thing?

Two words: Troy Grady. 

Check out his ‘Cracking The Code’ series on YouTube and consider signing up to his site. Even if you just sign up for a month, that should be enough to go through his Pickslanting Primer which goes into picking in the most microcosmic fashion I’ve ever seen. 

Failing that, there is plenty of content around Troy’s nomenclature / technique breakdowns if you Google ‘pickslanting’ or similar. 

Start with the CtC YouTube stuff and branch out from there.

Thanks very much - I'll look him up

bertie

Id use finger/thumb muscle rather than hand/arm  -  but that might not give you the attach you're wanting 

digitalkettle

I had a quick look at the vid and he appears to be using a lot of elbow for that particular bit.

 He’s also chosen to pick nearer to the bridge…probably for reasons of timbre…but the string does behave more at that point too (less deflection).

 However, I think the main problem that the OP is describing is simply how the pick hits the string. As recommended above, some of the elementary CtC material talks about this with some nice visuals…might even be free access.

EricTheWeary

I started writing something but turns out ACPG did a video a few years ago that's comprehensive...

axisus

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

digitalkettle

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

'tis a classical definition (although, strictly speaking, I think it means that tempo/subdivisions go out of the window and the individual notes are repeated as fast as possible within their timeframe)...hope that makes sense ;-/

EricTheWeary

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

It's an Italian word and guitarists have effectively borrowed the technique from the mandolin. It is typically fast alt picking but there are different patterns so strictly speaking it isn't always uniform. 

digitalkettle said:

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

'tis a classical definition (although, strictly speaking, I think it means that tempo/subdivisions go out of the window and the individual notes are repeated as fast as possible within their timeframe)...hope that makes sense ;-/

That might be what people often do (probably what I do) but it is meant to be within tempo. When Vivaldi wrote for mandolin I'm guessing he didn't put 'just go a bit nuts here' on the sheet music. 

jasonbone75

Do you have any proof for that reckless assumption about Vivaldi?! 

digitalkettle

EricTheWeary said:
...

digitalkettle said:

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

'tis a classical definition (although, strictly speaking, I think it means that tempo/subdivisions go out of the window and the individual notes are repeated as fast as possible within their timeframe)...hope that makes sense ;-/

That might be what people often do (probably what I do) but it is meant to be within tempo. When Vivaldi wrote for mandolin I'm guessing he didn't put 'just go a bit nuts here' on the sheet music. 

I was surprised when I read it but, in the 'The AB Guide To Music Theory (part 1)', it sez this:

"However, if very short time values are used or if the tempo is very fast, all that may be intended is that the alternation of notes should be as quick as possible, i.e. not strictly counted. Careful composers add the word 'tremolo' (or 'trem.') when they want this effect.'

digitalkettle

jasonbone75 said:

Do you have any proof for that reckless assumption about Vivaldi?! 

Sounds more like an Erik Satie thing

EricTheWeary

digitalkettle said:

EricTheWeary said:
...

digitalkettle said:

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

'tis a classical definition (although, strictly speaking, I think it means that tempo/subdivisions go out of the window and the individual notes are repeated as fast as possible within their timeframe)...hope that makes sense ;-/

That might be what people often do (probably what I do) but it is meant to be within tempo. When Vivaldi wrote for mandolin I'm guessing he didn't put 'just go a bit nuts here' on the sheet music. 

I was surprised when I read it but, in the 'The AB Guide To Music Theory (part 1)', it sez this:

"However, if very short time values are used or if the tempo is very fast, all that may be intended is that the alternation of notes should be as quick as possible, i.e. not strictly counted. Careful composers add the word 'tremolo' (or 'trem.') when they want this effect.'

I'm quite happy to accept that they know more about it than I do but I think that tremolo can be and is played in tempo. The point of practicing it to a tempo is that you can play longer, more even passages. 

digitalkettle

EricTheWeary said:

digitalkettle said:

EricTheWeary said:
...

digitalkettle said:

axisus said:

Sporky said:

I believe that is tremolo picking. 

I'd have said alt picking, but I looked it up and that is indeed tremolo picking - due to being one note on one string. Not sure that required its own word but who am I to say ...

'tis a classical definition (although, strictly speaking, I think it means that tempo/subdivisions go out of the window and the individual notes are repeated as fast as possible within their timeframe)...hope that makes sense ;-/

That might be what people often do (probably what I do) but it is meant to be within tempo. When Vivaldi wrote for mandolin I'm guessing he didn't put 'just go a bit nuts here' on the sheet music. 

I was surprised when I read it but, in the 'The AB Guide To Music Theory (part 1)', it sez this:

"However, if very short time values are used or if the tempo is very fast, all that may be intended is that the alternation of notes should be as quick as possible, i.e. not strictly counted. Careful composers add the word 'tremolo' (or 'trem.') when they want this effect.'

I'm quite happy to accept that they know more about it than I do but I think that tremolo can be and is played in tempo. The point of practicing it to a tempo is that you can play longer, more even passages. 

I agree with you there...I think guitarists have repurposed the term a little...in a way that makes more sense to me actually.

viz

Yeah it's a classical guitar term (as per Recuerdos de la Alhambra) but getting the same effect with a plectrum is how us rockerz do it. 

dhankotb

Sporky said:

I believe that is tremolo picking. 

I prefer 'speed strumming on one string'

digitalkettle said:

I had a quick look at the vid and he appears to be using a lot of elbow for that particular bit.

 He’s also chosen to pick nearer to the bridge…probably for reasons of timbre…but the string does behave more at that point too (less deflection).

 However, I think the main problem that the OP is describing is simply how the pick hits the string. As recommended above, some of the elementary CtC material talks about this with some nice visuals…might even be free access.

 Do not tremolo pick from the elbow. It should be from the wrist; start slowly until you can develop the technique. 

Anchoring your palm to the bridge and body of the guitar can help with stability/picking angle.

Another tip would be to hold the pick nearer to the bottom so there's less material passing over the strings. That way, there's less of a counter force on the pick from the strings, and you're able to focus on a smaller area of the pick.

digitalkettle

dhankotb said:

digitalkettle said:

I had a quick look at the vid and he appears to be using a lot of elbow for that particular bit.

 He’s also chosen to pick nearer to the bridge…probably for reasons of timbre…but the string does behave more at that point too (less deflection).

 However, I think the main problem that the OP is describing is simply how the pick hits the string. As recommended above, some of the elementary CtC material talks about this with some nice visuals…might even be free access.

 Do not tremolo pick from the elbow. It should be from the wrist; start slowly until you can develop the technique. 

Anchoring your palm to the bridge and body of the guitar can help with stability/picking angle.

Another tip would be to hold the pick nearer to the bottom so there's less material passing over the strings. That way, there's less of a counter force on the pick from the strings, and you're able to focus on a smaller area of the pick.

I wouldn’t personally recommend picking from the elbow (certainly not as a primary motion for ‘tremolo’) but I don’t think it’s as evil as you seem to be implying.

Also, since wading through a bunch of the CtC content, I stopped (lightly) anchoring to the body so much; favouring light contact from the base of the palm with the saddle area. I used to show the tinniest bit of pick too but that changed to facilitate downward escape picking (DSX)…so I show more but, hopefully, the contact area is still minimal.

Still a work in progress

Danny1969

Check this out for a great explanation of how to do it, from the master Tom Bukovac 



This is the thing I'm always trying to emulate, just so clean and accurate there's no overdrive or distortion necessary   

dhankotb

digitalkettle said:

dhankotb said:

digitalkettle said:

I had a quick look at the vid and he appears to be using a lot of elbow for that particular bit.

 He’s also chosen to pick nearer to the bridge…probably for reasons of timbre…but the string does behave more at that point too (less deflection).

 However, I think the main problem that the OP is describing is simply how the pick hits the string. As recommended above, some of the elementary CtC material talks about this with some nice visuals…might even be free access.

 Do not tremolo pick from the elbow. It should be from the wrist; start slowly until you can develop the technique. 

Anchoring your palm to the bridge and body of the guitar can help with stability/picking angle.

Another tip would be to hold the pick nearer to the bottom so there's less material passing over the strings. That way, there's less of a counter force on the pick from the strings, and you're able to focus on a smaller area of the pick.

I wouldn’t personally recommend picking from the elbow (certainly not as a primary motion for ‘tremolo’) but I don’t think it’s as evil as you seem to be implying.

Also, since wading through a bunch of the CtC content, I stopped (lightly) anchoring to the body so much; favouring light contact from the base of the palm with the saddle area. I used to show the tinniest bit of pick too but that changed to facilitate downward escape picking (DSX)…so I show more but, hopefully, the contact area is still minimal.

Still a work in progress

It's bad form to learn incorrect technique (potentially a tautology) when starting out. Literature 
At best; probably not good to point out a particular method to a beginner that would cause issues a year down the line.

Base to bridge is how I would approach it personally. The angle it puts on the hand naturally lends itself to incorporating the thumb into the motion once you become a little more proficient. 

Anchoring the palm can help when starting out, because it limits degrees of freedom so you're only able to focus on the correct picking motion as well as clarity. That way, once you have the technique, you can move further up the string for better note definition, and use your little finger on the high e to stabilise the hand.

I've found the added control helps with individually tremolo picking multiple strings.

To OP: Just start slowly and treat it as if if were any other kind of physical exercise. Once you have the technique the speed will follow.

digitalkettle

dhankotb said:

digitalkettle said:

dhankotb said:

digitalkettle said:

I had a quick look at the vid and he appears to be using a lot of elbow for that particular bit.

 He’s also chosen to pick nearer to the bridge…probably for reasons of timbre…but the string does behave more at that point too (less deflection).

 However, I think the main problem that the OP is describing is simply how the pick hits the string. As recommended above, some of the elementary CtC material talks about this with some nice visuals…might even be free access.

 Do not tremolo pick from the elbow. It should be from the wrist; start slowly until you can develop the technique. 

Anchoring your palm to the bridge and body of the guitar can help with stability/picking angle.

Another tip would be to hold the pick nearer to the bottom so there's less material passing over the strings. That way, there's less of a counter force on the pick from the strings, and you're able to focus on a smaller area of the pick.

I wouldn’t personally recommend picking from the elbow (certainly not as a primary motion for ‘tremolo’) but I don’t think it’s as evil as you seem to be implying.

Also, since wading through a bunch of the CtC content, I stopped (lightly) anchoring to the body so much; favouring light contact from the base of the palm with the saddle area. I used to show the tinniest bit of pick too but that changed to facilitate downward escape picking (DSX)…so I show more but, hopefully, the contact area is still minimal.

Still a work in progress

It's bad form to learn incorrect technique (potentially a tautology) when starting out. Literature 
At best; probably not good to point out a particular method to a beginner that would cause issues a year down the line.

Base to bridge is how I would approach it personally. The angle it puts on the hand naturally lends itself to incorporating the thumb into the motion once you become a little more proficient. 

Anchoring the palm can help when starting out, because it limits degrees of freedom so you're only able to focus on the correct picking motion as well as clarity. That way, once you have the technique, you can move further up the string for better note definition, and use your little finger on the high e to stabilise the hand.

I've found the added control helps with individually tremolo picking multiple strings.

To OP: Just start slowly and treat it as if if were any other kind of physical exercise. Once you have the technique the speed will follow.

I don't think 'elbow' is necessarily bad technique ref

Also, the 'start slowly' thing...I think it's valid for getting your head around something...but picking motion can change when ramping up the speed (cue the 'you don't learn to run by walking' analogy) so there's a lot of merit in 'starting with speed' (once you know what you're doing).

Disclaimer: I think these concepts are slightly beyond 'beginner' level.