Another Pick Technique Q.

[Mugre]

Hi,

In scanning the pick technique threads I haven't seen this addressed so here goes:

Rest strokes (where the pick lands on the lower string) or not? Ed Friendand, whose books I'm using says rest strokes but doesn't say why.

Mugre

[MEKer]

I don't get it. You mean after a strike the pick comes to rest on another string just for the heck of it and just sits there? If so--that serves no purpose. I've played pick since 1972 and never have seen or heard of it from anyone. Precision would disallow that anyway when you think about it---unless you are playing 1 note and then stopping for the rest of the night. I'd be interested---just for curiosity that you mention this---exactly what this means and the reason why.

[grendle]

Originally Posted by MEKer

I don't get it. You mean after a strike the pick comes to rest on another string just for the heck of it and just sits there? If so--that serves no purpose. I've played pick since 1972 and never have seen or heard of it from anyone. Precision would disallow that anyway when you think about it---unless you are playing 1 note and then stopping for the rest of the night. I'd be interested---just for curiosity that you mention this---exactly what this means and the reason why.

+1

You don't rest on the next string, you just don't play that beat.

[Mugre]

Originally Posted by MEKer

I don't get it. You mean after a strike the pick comes to rest on another string just for the heck of it and just sits there? If so--that serves no purpose. I've played pick since 1972 and never have seen or heard of it from anyone. Precision would disallow that anyway when you think about it---unless you are playing 1 note and then stopping for the rest of the night. I'd be interested---just for curiosity that you mention this---exactly what this means and the reason why.

Well, that's kinda what I'm asking. I mean, Ed Friedland is a pretty well respected educator right?

From his Hal Leonard Method:

"Tip: To get a full sound from each string, make sure the pick connects fully; let the pick "travel through" and come to rest against the next string after the stroke. Be careful however, not to play too hard (expecially on the strings G and D; overplaying can make the string "flap out", producing a weak tone."

Remember, this is page 7 of book one; before up strokes on the 8th's are introduced. I've heard of classical guitarists differentiating between "rest" and "free" strokes. So I though there might be a root in classical techniques. He advoctates a similar idea for fingerstyle; that the finger "plays through" and lands on the higher (lower pitched) string. I'm suspecting that the idea is that you're always playing from a known place as opposed to having flown off into space and needing to guess where the next string is. If your fingers always land on a string (or in case of the E on your thumb) you're developing a quiet, movement efficent technique which actually leads to precision. This is my conjecture on it at least. Having read Ed's contributions all the way way back to "The Bottom Line" mailing list (15 years ago?), Ed doesn't seem to be the kind of guy who mindlessly repeats myth. Watching him on YT, you'd have to admit that he DOES have a quiet and efficient style even when he's burning it up.

Mug

[Jay2U]

Originally Posted by Mugre

...He advoctates a similar idea for fingerstyle; that the finger "plays through" and lands on the higher (lower pitched) string...

This is just one of the muting techniques, floating thumb is another. The lower pitched strings tend to resonate as other strings are played. Try fret 7 on the A-string and hear what the E does if not muted.

[jabsys]

Just tried it and I don't see how you could play like that, where I'd normally stop the pick for the upstroke or another downstroke is nowhere near the next string.

[grendle]

I think less reading of anyone's book and more actual playing and practice are needed. It has a tendency to show ya what works.

[MEKer]

With ALL due respect to Ed, I think the tip about resting the pick on the lower string is worthless. No point to it. Doing that to stop a sympathetic reaction from the next lower string is REALLY trying to be "look at this special tip only real pros know" and is bogus. Uhh, pardon me, Ed, but what about a string that may be ABOVE the one struck? Uhh, pardon me, Ed, but are you going to spend 3/4 of your time trying to mute every string on the bass every time after striking another string?


OP---just please ignore that particular "tip". Take the lessons and get better by his instruction---that's cool. The realities of playing will do you more good after you have his common sense basics down if you need them. Why? Because you will learn from actually playing and hearing what is going on with your bass. And you will come across personal ways of muting or other stings. THEN when you come across something---why, c'mon and ask TB!