One thing that might be worth mentioning is Fripp's recommendation of a visual way to verify a good hand orientation before we begin picking, until we're able to do it by feel: - viewed from the front, there's a straight line down the forearm through the middle finger. (The wrist isn't bent up or down.) - viewed from above, there's a straight line down the forearm through the thumb. (The wrist isn't bent toward or away from the guitar.)
In the early 2000s, as an avid RF online diary reader, I came across a discussion on right and left hand technique that (together with live DVDs) *transformed* my guitar playing. I'll never have the time in my life to put in the work to reach Fracture/Trap/Suite levels of playing, but basically any pain from guitar playing permanently disappeared within a week and for that I am forever grateful.
Happy new year! You would not believe how much better it feels to jumpnstrings like this. I wrote a thing and was able to throw 16th notes in there (it started to sound like Radical Action). Anyway, I hope the new year brings good news, including that Wetton Era transcription book. I am super excited about that.
Thank you for this highly informative and insightful video. Ever since I heard Fracture, more than 48 years ago, it has been a constant source of quiet euphoria to me. Intuitively it was something I recognised to be a yardstick for several qualities that seemed obvious to anyone who heard and listened. The guitar parts seemed breathtakingly impressive and the composition and arrangement highly sophisticated. It has remained my yardstick for measuring any metal since, although anyone who has listened to Crimson knows they were many things, a genre unto themselves. Nothing I have heard since has had the same impact on me, or revealed such a level of musicality in terms of band interplay in a live setting. Personally, I’m grateful to you for the whole Failure to Fracture project and the dedication you have shown by which you have showcased and championed a piece that is sacred to my heart. Highest gratitude and regards. John from Sydney.
I am putting my right hand through a kind of painful hell, so I hope you're happy. But maybe, after a few weeks, I will for the first time feel comfortable with a pick. They tend to move around on me. Thank you.
19:48 The same reason top level racing cars are usually rear wheel drive. Its splits the load of providing grip for traction for accelaration and grip for turning the steering wheels between both axles. A front wheel drive Indy / F1 car would be hopeless as it would be expecting too much for the front axle to be providing steering and torque demand. When you are picking at the limit of what is possible to ask the wrist to do everything would be too much.
I've been learning Fracture myself, this is very useful! The Krimson discography, specifically Discipline, forms a significant part of my musical DNA, both as a listener and a guitarist, so its interesting and helpful to see a more defined and refined right-hand form for playing this complex music (especially since I'm playing Discipline for my Music performance exam this year).
I'm glad this is helpful. Sometimes I wonder if it's going too deep, but if it's helping people, then I'll keep going. I have another video planned about where the pick hits the strings, too. Is that of interest?
The difficulty of pulling the pick out from between thumb and fingers reminds me of some tai chi exercises which make it very hard to push someone over.
This is super helpful. Funny enough I picked up my guitar for the first time in about a month yesterday to practice Larks III again and watched some of your videos. I get elbow pain at the higher speeds so I'm not sure what I'm doing wrong.
Besides sub-optimal arm angle, you might just be building up muscles. What I found as a very useful tool is a gyroscope exercise ball. I use one from PBLX. There's videos on how to use them. Basically, wind the string, give it a spin like a top, and then move your hand into the resistance. Small rotating movements are best. Then do pilates-type of movements as you keep it spinning. It doesn't take much to get it going and exercise your muscles.
As a massive nerd, I love this sort of thing. I have read your book a couple of times and have been trying some Fripp stuff, myself. Larks' Tongues III is ridiculously hard... I don't know if I will ever get that up to full tempo! I actually got some GC picks, but I prefer the Dunlop Sharp picks. I have the .73mm which I love for acoustic. I have been using the 1.14mm for electric. I am going to try the Jeff Loomis sharp picks as well.
Thanks for reading my book! Larks 3 is ridiculous. That's really a form of olympic sprinting. I also prefer the Dunlop Sharps. They're just a few millimeters longer and it makes a huge difference. How big are the Loomis picks?
I’ve felt that my right hand technique is abysmal for many years. I definitely want more versatility in how I pick (you need to be really loose for like r&B and gospel and comping in general, but for times where I need extreme speed and precision I will try this out. Thanks
Thanks for the video, I have been making a mistake in my practices because I don't leave space for the “pencil” in the right hand posture, however I am left with a doubt about the angle of the pick when plucking the string, I have the perception that it should be strictly perpendicular, do you know what is Robert's recommendation in this regard?
Watching this makes me feel like confessing that my pick grip is completely wrong. I have carpal and cubital tunnel so my grip strength in my right hand is not good. I developed a 3 finger grip pseudo-architecture, and for years (at the advice of a physical therapist) used moleskin material to build up the larger part of the pick with something easier to grip, rather than trying to grip something thin and smooth. in time I was able to abandon the moleskin, but still have this odd architecture. Part of the problem is the part of the thumb that would be in contact with the pick with what you're demonstrating is partially numb, and sometimes the index finger can be a bit numb. With the 3 finger grip it feels more secure. Maybe at some point I could attempt to relearn this? Not tonight though LOL!
I wouldn't think about it in terms of "right" or "wrong." If you want to play the kinds of pieces Robert plays, you're going to have to figure out some accommodation that works with your body, but if you don't understand where he's starting, I don't think there's an alternative path to get where he is. This is why Steve Vai does so much tapping at the Beat show.
Hello Sharon, have you considered using thick picks? Somewhere between 3-9 mm might be easier on your hands. Purple plectrums makes such picks, they're a little pricey ($25+) but some older people do anecdotally say it's easier on their hands. Might be worthwhile to look into!
The problem I always run into whenever I try to play fast is that I lose the synchronization between the right and left hands. My left can't keep up with the right. Also, how do you address palm muting and/or anchoring the wrist on the bridge with this technique?
One thing that f up for me is the angling of the pick, i watched every frame of Alex Anthony Faide playing this nightmare and he changes the angle subtly while cross picking. But i have no clue how to do that at such high speed. Do you even notice this type of movement ?
Fortunately for me, I have no desire to learn how to play Fracture so I can stick to the picking technique I have used for forty+ years. I'll stick to listening to Fripp and yourself play Fracture, it is more entertaining - some things are best left a mystery 😉
@@MakeWeirdMusic That is, it requires less physical effort than any other way of holding/moving a guitar pick, i.e. it is the most efficient. The reason it seems difficult for most players is because we're accustomed to doing things the hard way. In fact we often prefer doing things the hard way, because it gives us the sensation of being "in control." RF's technique requires letting go, which can be very difficult.
@@Emlizardo Oh I'm sure it is, but I am 59 years old and quite happy with my picking style. No need to fix it if it ain't broken. I also do a lot of finger picking, my comment was just in fun.
I understand. I mention it because some folks' picking technique is doing real damage, causing carpal tunnel syndrome and other nastiness. Then when we try to fix the problem the fixits can pile up and make things even worse, putting us in a world of hurt. (See poor Steve Morse.)
One thing that might be worth mentioning is Fripp's recommendation of a visual way to verify a good hand orientation before we begin picking, until we're able to do it by feel:
- viewed from the front, there's a straight line down the forearm through the middle finger. (The wrist isn't bent up or down.)
- viewed from above, there's a straight line down the forearm through the thumb. (The wrist isn't bent toward or away from the guitar.)
In the early 2000s, as an avid RF online diary reader, I came across a discussion on right and left hand technique that (together with live DVDs) *transformed* my guitar playing. I'll never have the time in my life to put in the work to reach Fracture/Trap/Suite levels of playing, but basically any pain from guitar playing permanently disappeared within a week and for that I am forever grateful.
Amazing.
Happy new year! You would not believe how much better it feels to jumpnstrings like this. I wrote a thing and was able to throw 16th notes in there (it started to sound like Radical Action).
Anyway, I hope the new year brings good news, including that Wetton Era transcription book. I am super excited about that.
Me too!
Thank you for this highly informative and insightful video. Ever since I heard Fracture, more than 48 years ago, it has been a constant source of quiet euphoria to me. Intuitively it was something I recognised to be a yardstick for several qualities that seemed obvious to anyone who heard and listened. The guitar parts seemed breathtakingly impressive and the composition and arrangement highly sophisticated. It has remained my yardstick for measuring any metal since, although anyone who has listened to Crimson knows they were many things, a genre unto themselves. Nothing I have heard since has had the same impact on me, or revealed such a level of musicality in terms of band interplay in a live setting. Personally, I’m grateful to you for the whole Failure to Fracture project and the dedication you have shown by which you have showcased and championed a piece that is sacred to my heart. Highest gratitude and regards. John from Sydney.
That’s extraordinary kind of you John. Thank you
Thanks for this video. As a guitar player myself this info is very useful. Thanks again.
I'm glad this is helpful!
The ending of the suite was OMG!
LOL
I am putting my right hand through a kind of painful hell, so I hope you're happy. But maybe, after a few weeks, I will for the first time feel comfortable with a pick. They tend to move around on me. Thank you.
I am always happy when viewers are in pain. LOL
I hope this video helps you with your picking. I have another one planned that I'll get to soon.
19:48 The same reason top level racing cars are usually rear wheel drive. Its splits the load of providing grip for traction for accelaration and grip for turning the steering wheels between both axles. A front wheel drive Indy / F1 car would be hopeless as it would be expecting too much for the front axle to be providing steering and torque demand. When you are picking at the limit of what is possible to ask the wrist to do everything would be too much.
Agreed. I just bought a Lotus Super 7 this summer and have been really learning so much about cars, torque, transmissions, etc.
I've been learning Fracture myself, this is very useful!
The Krimson discography, specifically Discipline, forms a significant part of my musical DNA, both as a listener and a guitarist, so its interesting and helpful to see a more defined and refined right-hand form for playing this complex music (especially since I'm playing Discipline for my Music performance exam this year).
I'm glad this is helpful. Sometimes I wonder if it's going too deep, but if it's helping people, then I'll keep going. I have another video planned about where the pick hits the strings, too. Is that of interest?
@@MakeWeirdMusic I'd definitely watch that.
Great story, Ant. I still don't know how that works!! I confess. My fingers dangle.
I forgeeb joo
The difficulty of pulling the pick out from between thumb and fingers reminds me of some tai chi exercises which make it very hard to push someone over.
Robert Gripp
This is super helpful. Funny enough I picked up my guitar for the first time in about a month yesterday to practice Larks III again and watched some of your videos. I get elbow pain at the higher speeds so I'm not sure what I'm doing wrong.
@@pyroseed13 need to relax. Everywhere
Besides sub-optimal arm angle, you might just be building up muscles. What I found as a very useful tool is a gyroscope exercise ball. I use one from PBLX. There's videos on how to use them. Basically, wind the string, give it a spin like a top, and then move your hand into the resistance. Small rotating movements are best. Then do pilates-type of movements as you keep it spinning. It doesn't take much to get it going and exercise your muscles.
As a massive nerd, I love this sort of thing.
I have read your book a couple of times and have been trying some Fripp stuff, myself.
Larks' Tongues III is ridiculously hard... I don't know if I will ever get that up to full tempo!
I actually got some GC picks, but I prefer the Dunlop Sharp picks. I have the .73mm which I love for acoustic. I have been using the 1.14mm for electric. I am going to try the Jeff Loomis sharp picks as well.
Thanks for reading my book! Larks 3 is ridiculous. That's really a form of olympic sprinting.
I also prefer the Dunlop Sharps. They're just a few millimeters longer and it makes a huge difference.
How big are the Loomis picks?
@MakeWeirdMusic the Loomis picks are 1.5mm sharps and ade of black Ultex. I am awaiting a delivery this week.... I will find out if I like them soon!
I’ve felt that my right hand technique is abysmal for many years. I definitely want more versatility in how I pick (you need to be really loose for like r&B and gospel and comping in general, but for times where I need extreme speed and precision I will try this out. Thanks
Glad you found it helpful. It will make you a better guitarist.
enjoy your content very much, thank you. do you alternate between standard tuning vs nst, for the different pieces you approach, learn, perform?
@@robertfletcher3092 I only use NST on an as needed basis
@@MakeWeirdMusic amazing, to alternate between two very different tunings...very appreciative here. thank you.
Thanks for the video, I have been making a mistake in my practices because I don't leave space for the “pencil” in the right hand posture, however I am left with a doubt about the angle of the pick when plucking the string, I have the perception that it should be strictly perpendicular, do you know what is Robert's recommendation in this regard?
As perpendicular as you can get it is probably ideal. But we must accommodate physical realities. That’s why pointy picks make a difference.
Watching this makes me feel like confessing that my pick grip is completely wrong. I have carpal and cubital tunnel so my grip strength in my right hand is not good. I developed a 3 finger grip pseudo-architecture, and for years (at the advice of a physical therapist) used moleskin material to build up the larger part of the pick with something easier to grip, rather than trying to grip something thin and smooth. in time I was able to abandon the moleskin, but still have this odd architecture. Part of the problem is the part of the thumb that would be in contact with the pick with what you're demonstrating is partially numb, and sometimes the index finger can be a bit numb. With the 3 finger grip it feels more secure.
Maybe at some point I could attempt to relearn this? Not tonight though LOL!
I wouldn't think about it in terms of "right" or "wrong." If you want to play the kinds of pieces Robert plays, you're going to have to figure out some accommodation that works with your body, but if you don't understand where he's starting, I don't think there's an alternative path to get where he is. This is why Steve Vai does so much tapping at the Beat show.
@@MakeWeirdMusic tapping!!! there we go!!
Hello Sharon, have you considered using thick picks? Somewhere between 3-9 mm might be easier on your hands. Purple plectrums makes such picks, they're a little pricey ($25+) but some older people do anecdotally say it's easier on their hands. Might be worthwhile to look into!
Pat Metheny uses a three finger grip!
@@oclictis1 ooh great suggestion! i'll consider that!!! thank you so much!
The problem I always run into whenever I try to play fast is that I lose the synchronization between the right and left hands. My left can't keep up with the right.
Also, how do you address palm muting and/or anchoring the wrist on the bridge with this technique?
@@guitarandgraves that takes slower practice.
Remember, practice doesn’t make perfect. Perfect practice makes perfect.
One thing that f up for me is the angling of the pick, i watched every frame of Alex Anthony Faide playing this nightmare and he changes the angle subtly while cross picking. But i have no clue how to do that at such high speed. Do you even notice this type of movement ?
Yes. It’s definitely noticeable. What happens at slow speed is hard to control at high speed. So accommodations are made.
Fortunately for me, I have no desire to learn how to play Fracture so I can stick to the picking technique I have used for forty+ years. I'll stick to listening to Fripp and yourself play Fracture, it is more entertaining - some things are best left a mystery 😉
This technique is the easiest way to use a pick, regardless of the type of music you choose to play.
@@Emlizardo 😂
@@MakeWeirdMusic That is, it requires less physical effort than any other way of holding/moving a guitar pick, i.e. it is the most efficient. The reason it seems difficult for most players is because we're accustomed to doing things the hard way. In fact we often prefer doing things the hard way, because it gives us the sensation of being "in control." RF's technique requires letting go, which can be very difficult.
@@Emlizardo Oh I'm sure it is, but I am 59 years old and quite happy with my picking style. No need to fix it if it ain't broken. I also do a lot of finger picking, my comment was just in fun.
I understand. I mention it because some folks' picking technique is doing real damage, causing carpal tunnel syndrome and other nastiness. Then when we try to fix the problem the fixits can pile up and make things even worse, putting us in a world of hurt. (See poor Steve Morse.)