I've noticed many different ways that great players hold, and use the pick; Steve Kaufman with the Doc Watson whole arm method; Tony Rice had a busy thumb; Molly Tuttle has a distinct wrist style; Trey Hensley wants the pick flat on the stings, where others angle it; pronate, supinate... a person can try many ways to get where they want to be. I've had to alter things in order to play in a group setting and be heard, (guitar). My mentor, (Mike Thomas), is a Kaufman Kamper so I've been workin on that, and getting the pick to stick out a little more to not smother the just played string. Keep it up guys, great stuff here.
I really appreciate you covering things that I have a hard time with It's so encouraging to find out that it's not just hard for me, it's just plain hard.
😂 I thought the Internet broke and put Hayes thumbnail on Andy's video... I subscribe to both. I've been playing music for 55 years flipping between instruments and genres currently playing around with bluegrass and traditional on fiddle, mandolin and guitar... To hear Hayes say it took him three years to develop his technique is eye opening. I know for myself and many beginners we expect results much faster.... TH-cam is a phenomenal information source. The problem is a 15 minute video could translate to a years worth of practice and study. Oh I saw a video on triplets now I know how to play like Hayes 😂 Thanks for the collaboration I like both channels.
@@joekagerer I used to have the same problem with books. I'd buy a 30 page music book that looked like a weekend project, and it would be a 2 year journey!
Great stuff! I keep going back to the several longer Troy Grady videos with Andy Wood, especially the acoustic and mando ones. His pick hand is incredibly dialed in.
Funny story! (About chasing down SK) I caught Steve Kaufman's workshop at Mansfield, IN in Summer, 2005, and I asked him my triplets question....last question of the workshop. I met Steve again in 2014 at Winfield, and we competed against each other, but neither of us made the Finals, but we had a great conversation!
Rarely comment on your great videos. They always inspire and when I can i grab my guitar and try to work on the topic of the day. This one is no different. Thanks for the knowledge and rabbit hole material. I wanted to make mention of another great artist that does the triplet thing very well. And I didn’t even realize that’s what he was doing until he explains himself in a kind of a sit down conversation/hang/lesson with Brett Papa and maybe Guthrie Trapp. But it’s Tom Bukovac, “Uncle Larry”. And he shows us that he uses that kinda wrist twisting technique like older metal shredders. And he too uses great restraint mostly. Then occasionally lets fly to let us know that he still has it. He said people ask him about it so much that he’s kinda self conscience about it haha. Anyways great video. That twisting wrist thing I’ve only recently started trying. It is very hard. But it seems the less I focus on it, some how, the easier it is. ❤❤ cheers fellas and thanks.
Glad to see the love for Troy Grady’s work here! Don’t get caught up the metal-shredder orientation and think it’s not for bluegrass players. His scientific study of picking, with slow-motion camera work and excellent graphics, makes picking comprehensible and approachable.
Good goal to not overuse it. I find that the hammerons and pulloffs can help the flow of a piece, whereas when I hear people who pick everything, or when I try and pick everything, it's not as smooth. Of course there are people who can just pick everything - but it is a different sound - and there is appeal to both. Congratulations Hayes by the way. I watched your performance at Winfield and it was really original and nice picking. Enjoyed this chat. Nice to see other people spend multiple years on getting these things.
Interesting you say hammer-ons and pull-offs can help the flow. Just the other day I watched a video of an Irish fiddler talking about "dancebility", and she suggested one way of getting this in one's playing was to make the first note of a triplet a tiny fraction stronger and longer than the other two. With a hammer-on/pull-off triplet this would happen almost naturally on guitar but would take a lot more practice to achieve it picking all three notes. The other thing that occurs to me is that picking a triplet is going to effect pick direction for the note that follows it.
@@keithchilvers7434 Yeah. I think that this is what Hayes has spent so much time on, getting the picking direction right when leaving the triplet. If you do two triplets in a row, you're back to down pick being on the on beat. But many other uses will end you up with the upstroke on the on beat.
@@michaelwebster8389 For myself I don't worry too much about pick direction, being able change direction is something I have practiced quite a lot, as it can be useful when playing fiddle tunes, but I don't know how many years I will have to spend trying to fully pick a triplet to be able to do it without sounding stiff and wooden and losing the "dancebility"!
Andy and Hayes: Thanks for this video. This is a great technique. I will start my three year journey on trying to get it. Andy: Funny you should mention unasked questions. In class the other night, our melody got to the high E string. For double stops, the harmony note is always higher than the melody note. When the melody gets to the high E, we switched to triad shapes rather than double stops. My stupid question is, why can’t harmonic notes be lower than the melody? Does it get confusing which is melody and which is harmony? And thank you! I’m loving classes.
@@dsharpe9557 the rules are mine for class to keep things consistent. Of course, there are no rules. The reason I do that is if you go back and forth between having the harmony above and below, the listener loses the melody. Also, once we put the harmony below the melody, the harmony note is often two strings away, which is hard to play without resorting to hybrid picking.
This is guitar nerd glory. Great upload
I've noticed many different ways that great players hold, and use the pick; Steve Kaufman with the Doc Watson whole arm method; Tony Rice had a busy thumb; Molly Tuttle has a distinct wrist style; Trey Hensley wants the pick flat on the stings, where others angle it; pronate, supinate... a person can try many ways to get where they want to be. I've had to alter things in order to play in a group setting and be heard, (guitar). My mentor, (Mike Thomas), is a Kaufman Kamper so I've been workin on that, and getting the pick to stick out a little more to not smother the just played string. Keep it up guys, great stuff here.
this is a really beautiful dork-out right here. love it.
Thanks Andy!❤
I really appreciate you covering things that I have a hard time with
It's so encouraging to find out that it's not just hard for me, it's just plain hard.
Great video/info boys!
😂 I thought the Internet broke and put Hayes thumbnail on Andy's video... I subscribe to both. I've been playing music for 55 years flipping between instruments and genres currently playing around with bluegrass and traditional on fiddle, mandolin and guitar...
To hear Hayes say it took him three years to develop his technique is eye opening.
I know for myself and many beginners we expect results much faster....
TH-cam is a phenomenal information source. The problem is a 15 minute video could translate to a years worth of practice and study.
Oh I saw a video on triplets now I know how to play like Hayes 😂
Thanks for the collaboration I like both channels.
@@joekagerer I used to have the same problem with books. I'd buy a 30 page music book that looked like a weekend project, and it would be a 2 year journey!
Great stuff! I keep going back to the several longer Troy Grady videos with Andy Wood, especially the acoustic and mando ones. His pick hand is incredibly dialed in.
Funny story! (About chasing down SK)
I caught Steve Kaufman's workshop at Mansfield, IN in Summer, 2005, and I asked him my triplets question....last question of the workshop.
I met Steve again in 2014 at Winfield, and we competed against each other, but neither of us made the Finals, but we had a great conversation!
Loved listening to real people sharing their experiences 🇬🇧❤️🙌 I love the 123,456 tip it goes with the solo tip 1,3 slide 1,3
Rarely comment on your great videos. They always inspire and when I can i grab my guitar and try to work on the topic of the day. This one is no different. Thanks for the knowledge and rabbit hole material. I wanted to make mention of another great artist that does the triplet thing very well. And I didn’t even realize that’s what he was doing until he explains himself in a kind of a sit down conversation/hang/lesson with Brett Papa and maybe Guthrie Trapp. But it’s Tom Bukovac, “Uncle Larry”. And he shows us that he uses that kinda wrist twisting technique like older metal shredders. And he too uses great restraint mostly. Then occasionally lets fly to let us know that he still has it. He said people ask him about it so much that he’s kinda self conscience about it haha. Anyways great video. That twisting wrist thing I’ve only recently started trying. It is very hard. But it seems the less I focus on it, some how, the easier it is. ❤❤ cheers fellas and thanks.
Glad to see the love for Troy Grady’s work here! Don’t get caught up the metal-shredder orientation and think it’s not for bluegrass players. His scientific study of picking, with slow-motion camera work and excellent graphics, makes picking comprehensible and approachable.
Good goal to not overuse it. I find that the hammerons and pulloffs can help the flow of a piece, whereas when I hear people who pick everything, or when I try and pick everything, it's not as smooth. Of course there are people who can just pick everything - but it is a different sound - and there is appeal to both.
Congratulations Hayes by the way. I watched your performance at Winfield and it was really original and nice picking.
Enjoyed this chat. Nice to see other people spend multiple years on getting these things.
Interesting you say hammer-ons and pull-offs can help the flow. Just the other day I watched a video of an Irish fiddler talking about "dancebility", and she suggested one way of getting this in one's playing was to make the first note of a triplet a tiny fraction stronger and longer than the other two. With a hammer-on/pull-off triplet this would happen almost naturally on guitar but would take a lot more practice to achieve it picking all three notes.
The other thing that occurs to me is that picking a triplet is going to effect pick direction for the note that follows it.
@@keithchilvers7434 Yeah. I think that this is what Hayes has spent so much time on, getting the picking direction right when leaving the triplet. If you do two triplets in a row, you're back to down pick being on the on beat. But many other uses will end you up with the upstroke on the on beat.
@@michaelwebster8389 For myself I don't worry too much about pick direction, being able change direction is something I have practiced quite a lot, as it can be useful when playing fiddle tunes, but I don't know how many years I will have to spend trying to fully pick a triplet to be able to do it without sounding stiff and wooden and losing the "dancebility"!
Andy and Hayes: Thanks for this video. This is a great technique. I will start my three year journey on trying to get it. Andy: Funny you should mention unasked questions. In class the other night, our melody got to the high E string. For double stops, the harmony note is always higher than the melody note. When the melody gets to the high E, we switched to triad shapes rather than double stops. My stupid question is, why can’t harmonic notes be lower than the melody? Does it get confusing which is melody and which is harmony? And thank you! I’m loving classes.
@@dsharpe9557 the rules are mine for class to keep things consistent. Of course, there are no rules. The reason I do that is if you go back and forth between having the harmony above and below, the listener loses the melody. Also, once we put the harmony below the melody, the harmony note is often two strings away, which is hard to play without resorting to hybrid picking.
@@mandohat Got it. Thank you!
@@mandohat Good question, and answer you guys.
Trips are all through out Irish tunes- right hand trips
Yeah and those are often DUD (down up down). See videos by Enda Scahill. Different technique