I don't think I stated my point very well. I don't mean an effective grip
isn't important- of course a grip that allows you to get good tone, etc. is
important. I just think there's a lot of different ways to achieve that. My
grip is actually pretty close to the grip you describe Mike, though
my fi
Nay, Bill, Nay. The right hand is the hardest part for me. It's where
all your emotional content is, your tone of voice, your expressiveness
(or lack thereof) is, in my opinion. And I couldn't hold my pick the
way some other people do either. There are some pretty ineffective
grips out there. I thi
Errr back to front I think. The tip of the thumb points towards my
heart. Not a problem, just a provocation!
2010/1/11, Topher Gayle :
> Erik, great story, and I think that way too.
>
> Robin, I dunno. I am sort of surprised it would be a problem. I
> haven't run into it before. When you figure it
Erik, great story, and I think that way too.
Robin, I dunno. I am sort of surprised it would be a problem. I
haven't run into it before. When you figure it out, let use know so we
can offer all kinds of advice in the future! The only thing that I can
think of is that the tip of your thumb might po
On the subject of finding your own way, not necessarily directly about
pick grip...
I used to work in a bakery and the head baker had a helluva time
teaching me how to roll out a loaf of dough. No matter how slow he
showed me, it didn't make sense. "Whaddya mean just roll it out?
Aren't I doing th
It's curved away from the rest of the fingers, mainly in the top
phalanx (is that the right word?)
2010/1/11, Topher Gayle :
> Robin,
>
> Interesting question. Not sure what you mean. How is your thumb
> curved? Up, down, sideways, in out, or what?
>
> Glad to hear you got such a useful gene, thou
Bill,
You're completely right. But there are some things that seem to work
better for most people. I think it's good to try different grips,
different picks, different ways of picking and then decide for
yourself what's best for you.
When I am trying to help a completely new person, I like to giv
I think all this stuff about pick grip is much ado about nothing. Lots of
great pickers hold their picks all different ways. I've never thought much
about how I hold it- I had to look when this thread started. Seems to me to
be an individual comfort thing... there's no way I could hold my pick the
Robin,
Interesting question. Not sure what you mean. How is your thumb
curved? Up, down, sideways, in out, or what?
Glad to hear you got such a useful gene, though. It must come in handy
(har har).
Topher
On Mon, Jan 11, 2010 at 11:31 AM, Robin Gravina wrote:
> Just a curious question. There
Just a curious question. There are people with straight thumbs, and
then those who have been lucky enough to get the gene for brains,
charm, good looks and a curved thumb.
Curiously enough, I am in the latter group. Do we curved thumbers do
it different from our straight digit cousins? Just wonderi
I thank yall for the advice and since I have a quiet weekend here I
can try em out.
The one thing from the article, that I need to try and pay more
attention to is ..
Mike says its best to learn a tune slow, then after a time speed it
up. I do that but feel an enormous pressure to be able to play
Here are some ideas for hitting both strings in a course. Lots of
folks have trouble with this at first.
If you're not sure if you are hitting both strings, tune one of them
quite a bit flat. Then play some sort of exercise on that pair. The
worse it sounds, the better you're picking. Try to make
When it's going good... real good... I'll blow off everything to keep
it going. I try (in vain) to keep THAT in my muscle memory. Make THAT
my habit. Mike would probably say he does the same thing but his worst
days are still better than my best. He can be annoying in that way ;)
Playing back by t
I like the idea of the pencil eraser and will think on that some.
The Tater says I am only playing the top string of two sometimes. He
wants me to use the area just near the bridge more. I find it
difficult to push through...push the pick through the strings in that
spot. Am working on it.
So
Maybe the mental image of striking both strings with equal force and
contemporaneously helps the process of digging in and keeping the pick
on the stringS. Many of us have the poor technique (myself included)
of catching just one string in a pair. That will give us half the
volume and half the tone
Hey Jonas,
I personally don't find the "doorknob" description useful. There's not
much turning in the wrist per se. And because I am immature, Mike's
use of the term "rubbing out" a note makes me giggle (I can't be alone
on this can I?). That being said, it is definitely useful.
I've been thinkin
'Picking' this up from the interview thread...
I think I get the notion of 'rubbing out the notes' with the pick as was
stated in the Mandolin Cafe interview with MC. I also get the pick grip, and
use it. I have also heard that the hand motion when picking the mandolin
should be as when turning a
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