Ok thanks. Great sound !
Agree with James, sounds great, both voice and picking ! And the guitar sound ! What is your guitar ?
I think it's his wide neck 1939 D-28
Thanks a lot Chris :)
thanks for that lesson.
Does it happen to you to alternate Up/Down strokes when playing double stops on a faster tune ?
I say that because I saw a lesson on YT for "the man of constant sorrow" and the guy was playing up/down strokes on fast double stops on the intro. A bit hard to play for me for the moment.
Thank you for you answer :)Rémy
Yes, I definitely would do that, depending on the tempo and if I were playing 16th notes.
Thanks a lot Chris for that course ! Very clear !
Hi Chris and John (sorry for the response time John). Thank you to both of you, your answers help a lot and thank you Chris for taking the time to detail your technique. It confort me in the way I modified my right hand technique, thank you :)
Since I posted my question, I studied a little the Molly's case . I found a video on YT ( "Molly Tuttle's White Freightliner Warmup") that focus on her right hand technique (filmed from the side) and it appear that Molly rests her wrist on the bridge/nut for solos, muting strings that aren't stroked. But as you sayed Chris, "Whatever Molly does is most certainly working though" :-) She's really an amazing guitar player !!!Thank you very much :-)
Any advices/tips from members ?
Ok. Never'been in Lyon. I live in Tours.Cheers :)
Hi french buddy ;)Where are you from ?
Yeeees, the good news of the day ! Was hoping this ! Thank you for this week-end gift :)
Sorry for soliciting you again. I've started playing this tune and your Nine Pound Hammer intro with the right hand resting on the saddle/bridge. I just read that it's not a good idea, especially for the sound (it reduce vibrations). Some players (Carl Miner for example) play with pinkie finger on the pickguard as a "guide" (not sure of the word, "to know where you are"). What do you use to guide yourself ? It seem that you play "on the fly/air" /without guide. Does your hand skim the strings to guide yourself ? How do you stay accurate on strokes without pinkie on the pickguard nor hand resting on the saddle ? (when playing fast single notes)I've watched you're first fundamentals videos but it seem not to mention that. A short video showing your right hand from the side would be a great thing ! :) At the opposite, if you watch Molly Tuttle playing very fast faltpicking on vintage Martins on the "Carter Vintage Guitars" YT'channel, her hand/wrist seem to be really stuck to the saddle/bridge. Do you think she loses in sound projection/quality (because the hand restrict saddle vibration) ?
Thank you very much :)
It seems to me that actually resting the hand on the bridge would limit vertical movement of the wrist/hand and impede your ability to pick as quickly on different strings. I have a feeling that players like Molly are not actually resting their hand there even if it looks close, judging by the vertical movement of the wrist.
Anyways, at the end of the day the key is removing tension form the entire arm. I find lately that relaxing my upper arm onto the top of the guitar helps me a lot in this regard. It seems that Chris may do this as well, while I've noticed plenty of others players do not, so clearly it comes down to personal preference/your anatomy/your guitar. When I'm most relaxed I find that my up/down movements are smaller and picking is simply more accurate.
Sorry, it seems I missed this comment from you a couple of weeks ago! I definitely think that it is not good to have your hand/wrist resting on the saddle and/or bridge pins. It really does literally rob vibrational energy from the guitar and will make it sound weaker and less dynamic.
You are right in assuming that my right hand does brush against the strings, acting as a "guide" to use your words. Often I will be brushing lightly against the strings with the side of my thumb and the muscle-y part of my hand below the thumb. I also sometimes let my ring and pinky fingers touch the pickguard, also acting as a guide. So, I'm almost never floating completely freely.
I suspect that John D. is correct in saying that Molly isn't actually resting her hand on the bridge pins, although I'm not positive. Whatever Molly does is most certainly working though! She's one of my very favorite of the younger guitar players. Her IBMA award this year was very well deserved!
Thank you for your answer Chris :)
Such a nice version !!!
Edit/ Since I can't post my entire comment because it's too long, I just post here the question and posted the entire comment on your forum page http://www.sonicjunction.com/forums/5-announcements/topics/433-chris-critter-eldridgeHere just the question part on this video : at 7’04, the pull-off part (A G C notes) , you say that it’s down stroke -down stroke but it seem that in the beginning (4'30) you play down stroke and up stroke, and in the homespun instructional video it seem that tony Rice did too. Is it an error from you or was it done on purpose ? It seem easier when it’s down-up.
Thank you Chris for that great lesson of such a great tune ! (the rest of the comment is on the forum)
Hi Rémy, you are absolutely correct - I misspoke at 7:04. Should be down - up right there. Thanks for catching that! I will head over to the forum to check out the rest of your comment and respond there as necessary.
Thanks Sarah and Chris for this interesting point on strings. I will follow you and buy D'addario Nickel Bronze strings, but I hesitate to cross the step to the Medium gauge from light one. I saw the phosphore bronze "light top / med bottom" strings named "Bluegrass strings". There are also Nikel Bronze "light top / med bottom" strings. What are the pros and cons of that king of mixed gauge ? Why do they name these "light top / med bottom" phosphore bronze strings "bluegrass strings" ? Is this special gauge better for bluegrass ? Many thanks for your insights (and sorry for my poor english level, I'm french... ^^ )
Oups thanks and sorry, it's the only video i didn't check since the title seemed too complex for my skills level.
Thank you :)
Many thanks Chris for these expanded advice ! I'll try some picks among your suggestions.
Thank You :)
Thank you for that lesson !what kind of pick(s) do you use for bluegrass ? I've always played fingerstyle and try to begin learning flatpicking but I don't success in using pick for rythme... :/
are they rather thick and rigid or thin and supple ones ? Have you specific picks to recommend (brand, thickness, material )?Many thanks :)
Hi Remy, welcome!
For bluegrass it's important to use a stiff pick. My favorite picks are made by a company called Bluechip. Currently I'm using their TP48, which I really love. Generally speaking, I like picks that fall somewhere between 1.2 - 1.4mm, but different situations call for different things so there are no hard and fast rules in this department!
The Bluechip picks are rather expensive - $35 or so for a pick, which seems like a lot, but they wear out VERY slowly. So as long as you don't lose your pick it should work for you for years. (The Bluechips are so expensive because they're made out of some crazy material that is used in semiconductor manufacturing - so not normal plastic). There is another brand, Dunlop Primetone that are of a similar idea and are much cheaper. I personally don't like them as much, but many people have good success with them. Also, Fender Extra Heavy picks can be great. They wear out pretty quickly, but they're super cheap and they sound good.
Great great video !!! Thanks Chris !!! Is it possible to get the intro tab ?
I teach it here, in the final lesson of the series: http://www.sonicjunction.com/chris-eldridge/nine-pound-hammer-syncopations-double-stops-and-triplets-oh-my
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