I love how he keeps the two voices going. Is the pick hand anchor common for mandolin players?
I was wondering. I remember that Chris Theile doesn't but I didn't know if he was the exception:No, it isn't.
I was wondering. I remember that Chris Theile doesn't but I didn't know if he was the exception:
I think that without the anchor he seems to get a more open sound out of the instrument. The first guy with the anchor is using more elbow and his faster passages are more strident. Might be because he's needing to tremolo the two voices though. I've never put much thought into Mandolin technique before.
It seems like you would need to have more force to play through each course like Thile does that I would need on guitar. I've spent the last year or so trying to get away from any kind of anchoring in my guitar playing and its killing me. When I can do it right I get such a better sound out of the instrument though. As long as I'm nt trying to play quickly I'm cool. On rock gigs it's definitely slowed me down though:It limits the range of motion, for sure. I've thought about it a lot over the years, and I see no advantages of anchoring, and I do see disadvantages. Of course, people can and do great anyway.
Mandolin picking technique is identical to guitar, really. Though it does demand more of everything; precision, clarity, etc.
It seems like you would need to have more force to play through each course like Thile does that I would need on guitar. I've spent the last year or so trying to get away from any kind of anchoring in my guitar playing and its killing me. When I can do it right I get such a better sound out of the instrument though. As long as I'm nt trying to play quickly I'm cool. On rock gigs it's definitely slowed me down though:
Actually thats the subject of the fourth video I'm doing for Truefire this month...basically thickening up blues lines by using 3rds, 6ths and triads.Looks good to me. My biggest suggestion would be to start focusing on incorporating double-stops, triple-stops, and chords.
I think that this might me a great project for improving picking speed; Bach is always the answer.
http://www.premierguitar.com/articles/Acoustic_Adventures_Classical_DADGAD_Bach_Edition
You can play a mando like a guitar sure. But you are gonna sound like a guitarist not a mandolinist.
The two right hand techniques are very different actually.
Study Bill. All the greats do. Thille, bush, Grissman, all will tell you the started out with copying Monroe.
I was wondering. I remember that Chris Theile doesn't but I didn't know if he was the exception:
I think that without the anchor he seems to get a more open sound out of the instrument. The first guy with the anchor is using more elbow and his faster passages are more strident. Might be because he's needing to tremolo the two voices though. I've never put much thought into Mandolin technique before.
I checked that out but I'm not too excited about spending that much time in DADGAD right now...this is fun though: http://www.premierguitar.com/articl...tpicking_Fiddle_Tunes_Inside_The_Cuckoos_NestLooks good to me. My biggest suggestion would be to start focusing on incorporating double-stops, triple-stops, and chords.
I think that this might me a great project for improving picking speed; Bach is always the answer.
http://www.premierguitar.com/articles/Acoustic_Adventures_Classical_DADGAD_Bach_Edition
Though it does demand more of everything; precision, clarity, etc.
It may be one of the reasons why I like the mandolin so much. The demand is more precise and requires me to be more rigid with my technique.
I really enjoy that element, as well,
Maybe one day I might able to flatpick decently.