You play beautifully. Your technique is calm and poised. It's fascinating to watch you play. And your instructional videos are really informative too. As a jazz player, your lessons have helped me break into the bluegrass idiom. Thank you!
Andy, great to get this lesson from you at Nashville flatpick camp, I found this to be a real eye opener! Hope to see you soon, it was great to pick Beaumont with you (I was the guy with the '44 D18 you played)....
What's the lovely looking archtop on the wall? I know we all play dreadnoughts these days but to me Maybelle Carter's L5 will always be the sound of country music.
An interesting study. As you say all the great players use these rolls but it's maybe worth pointing out that there would be differences in how they play them, for instance on 'four across' it is most likely Norman Blake would have played it 'down down down, up', while Tony Rice would have been more likely to play 'down up, down up'. and although it seems a small thing it makes a subtle difference to a player's timing, so any player can see what fits best with their own approach.
Yes, and people have different patterns. These are the ones I use all the time. I don't think most players could define theirs, they just do them. Tony would be d d d u, and Norman would be alternating. Norman actually explains a lot of his patterns in a homespun video. I'm only alternate picking all the time.
@@mandohat Yes I have the Homespun video where Norman discusses some of the rolls he uses. What I am getting at is how different ways of crosspicking give a different feel to the tune being played. The George Shuffler way of crosspicking (which Norman Blake seems to have drawn on to develop his own style) seems to give a relaxed flowing feel best for old-time and fiddle tunes whereas alternate picking seems more suited to hard-driving bluegrass.
You can start it on any string but e. The first note is the melody note. If the melody note is on the g string, the pattern is: gdgb. If the melody note is on the d string the pattern is dadg, and so on.
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Thanks Andy!
wow Andy, I agree-I think it's super helpful to give names to some of these flat picking techniques. It really helps the beginner. Thanks!
This is amazing dude! I knew these patterns from you but so nice to see how to use them in a song like shady grove
Thanks, Thomas!
alright, this is a super helpful video. I feel like my flatpicking is going no where and probably just due to impatience. Love the breakdown
Thanks!
You play beautifully. Your technique is calm and poised. It's fascinating to watch you play. And your instructional videos are really informative too. As a jazz player, your lessons have helped me break into the bluegrass idiom. Thank you!
Nice articulation of these "secret weapons", and beautiful playing as always!
Thanks, Rolly!
Heck yeah thank you!
Phenomenal lesson Andy!
Loved this. Well done!
Andy, great to get this lesson from you at Nashville flatpick camp, I found this to be a real eye opener! Hope to see you soon, it was great to pick Beaumont with you (I was the guy with the '44 D18 you played)....
That was a fun camp--and a great guitar!!!
Great, and one of my favourite tunes too...
Fantastic information!!!
Thank you
What's the lovely looking archtop on the wall? I know we all play dreadnoughts these days but to me Maybelle Carter's L5 will always be the sound of country music.
Bravo Andy! I like onomatopoeic flatpicking
An interesting study. As you say all the great players use these rolls but it's maybe worth pointing out that there would be differences in how they play them, for instance on 'four across' it is most likely Norman Blake would have played it 'down down down, up', while Tony Rice would have been more likely to play 'down up, down up'. and although it seems a small thing it makes a subtle difference to a player's timing, so any player can see what fits best with their own approach.
Yes, and people have different patterns. These are the ones I use all the time. I don't think most players could define theirs, they just do them. Tony would be d d d u, and Norman would be alternating. Norman actually explains a lot of his patterns in a homespun video. I'm only alternate picking all the time.
@@mandohat Yes I have the Homespun video where Norman discusses some of the rolls he uses. What I am getting at is how different ways of crosspicking give a different feel to the tune being played. The George Shuffler way of crosspicking (which Norman Blake seems to have drawn on to develop his own style) seems to give a relaxed flowing feel best for old-time and fiddle tunes whereas alternate picking seems more suited to hard-driving bluegrass.
I think that's a good point
Great content 👏
Is that a D-41? What strings also? I have one, yours is a little brighter on the highs I think. Great video btw.
Yes, 2017. D'addario phospher bronze medium
@@mandohat uncoated like EJ16? Ej17? Or a coated like xs or xt? Good tone. Js
@@TinyTurboTuna uncoated, but I'll use elixirs if I'm recording so I don't squeak
Awesome🤘
Very Nice! On the In & Out Pattern; what strings are used? Using C, do you start with the D or G string? Then what? Thanks!
You can start it on any string but e. The first note is the melody note. If the melody note is on the g string, the pattern is: gdgb. If the melody note is on the d string the pattern is dadg, and so on.
psst, who is the "they" that dun want us to know about these Top Secret pickin techniques ?😅
Shhh!! It's Colonel Sanders. No, wait---that might be the 11 herbs and spices...
Wait, (2:20), there's hundreds and thousands of people who learned to play the banjo? Yikes.
That's what makes our quest so important