Wow! Such a valuable lesson. Proving its hard know what you don't know until some tells you. And Forked Deer is on my list of fiddle tunes I'm getting ready for the jam. Thanks.
I have tuning problems! , WHAT GAUGE OF STRINGS YOU USE? I use 0.9 and the G string goes out of tune with certain chords (it bends when pressing). Its an Ibanez. Steel strings.
Here's a crazy tip: try playing right-handed if you're a lefty, and vice versa. Yeah, I play air guitar lefty, but I play righty because of the excellent control I have over the frets with my dominant hand. Hendrix did this, Shawn Lane did this.
I’m left handed and play right handed because growing up we had one guitar in the house that was righty and I just couldn’t figure anything out upside down so made myself play right handed. I have a pretty difficult time playing with right hand accuracy.
@@isaacbeen2087 He was right-handed and played guitar lefty. From what I've read, he did most things with his right hand, including fretting the guitar.
I struggle when playing up the neck...I get faint hammer ons and pull offs when I dont want them and creates extra noise. Difficult when trying to play fast to get no sound when placing a finger or removing one. Also, You're right hand is so free. Do you ever mute unwanted strings when playing lead lines? Many bluegrass players will not touch at all with right hand. I thought during leads in second position on up the neck, you should mute strings that aren't being played
@@EastboundStudios you play really well. I can't eliminate every extraneous sound, but there are some I try to get rid of. It looks like you plant your wrist--that's a fine way to play, and a lot of people do that. I'm also doing a lot of rhythmic things in the lead, which frees up the hand from the top. Not touching the top with the right hand was unheard of in bluegrass a generation ago. I always have a pinky down. That was my generation. I mute strings that sound bad, but depending on the key, the open strings can add a nice sound to the lead.
@@EastboundStudios if there's more tone than mechanical sound, you're probably ok. Just focus on getting the best time possible. Pick out a model of tone in your mind. A player or recording that you love. Let that be the standard, and go for that. Play beautifully. Focus on making a good sound, not on NOT making a bad sound. My perfect tone model iny mind is a combination of Tony Rice, Ron Block, Pat Metheny from the duet album with Charlie Haden, and Julian Lage from sounding point. I've never gotten anyone right, but that sets the standard in my brain, and I go from there.
@@mandohat Thanks for this, I understand what your saying and will incorporate into my practice. It all makes sense. Also gonna check out the Pat Metheny album you mentioned. I've never listened to him before
Great vid, both for the actual comments about the fretting hand, but also for the recognition that the picking hand is where the real magic occurs - tone, volume, rhythm. As a left handed player, I'm so tired of constant suggestions that lefties sould play right handed because the fretboard is where the difficult stuff is. Sure, it's important, but it's essentially mechanical. Now a good many LH people do play guitar RH and, as a psychologist, I used to explain this at tedious length regarding hemispherical dominance. Now, I just say: 'Why do you think that no stringed instrument is played with the dominant hand on the fingerboard?'
I am working on cleaning up the buzz caused by sloppy fretting. I try to move the guitar to the left a bit. That also gets my pick a little closer to the bridge for a better tone. For some reason, I allowed the habit of fretting in the middle. It's coming along. For jamming in a group, I have to play more deliberately, which revealed this problem. Keep em coming Andy.
New strings? I love the sound of a good pull off when you actually really pull the finger like you're plucking the string. Some hammer ons, particularly on the high notes take a lot more strength, and perhaps more velocity to get a good sound. My hammerons on high strings are awful. Synchronisation becomes particularly important when you're upping the tempo - or at least that's when you start noticing the loss of synchronisation if you're usually pretty close with it.
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I finally found some local people at church to jam bluegrass with! Thanks for everything.
Andy, you make it look so easy. Love it
Wow! Such a valuable lesson. Proving its hard know what you don't know until some tells you. And Forked Deer is on my list of fiddle tunes I'm getting ready for the jam. Thanks.
I have tuning problems! , WHAT GAUGE OF STRINGS YOU USE? I use 0.9 and the G string goes out of tune with certain chords (it bends when pressing). Its an Ibanez. Steel strings.
I find that some portion of the pull off plucking motion comes from the wrist--something I got from a lesson with Martin Simpson.
Here's a crazy tip: try playing right-handed if you're a lefty, and vice versa. Yeah, I play air guitar lefty, but I play righty because of the excellent control I have over the frets with my dominant hand. Hendrix did this, Shawn Lane did this.
but Hendrix was left-handed, no?
I’m left handed and play right handed because growing up we had one guitar in the house that was righty and I just couldn’t figure anything out upside down so made myself play right handed. I have a pretty difficult time playing with right hand accuracy.
@@isaacbeen2087 He was right-handed and played guitar lefty. From what I've read, he did most things with his right hand, including fretting the guitar.
@@isaacbeen2087I think Hendrix was naturally left handed.
@@thewayithastobe I think Bob Smith is right...Hendrix was forced to do things right-handed, though it wasn't natural for him.
I struggle when playing up the neck...I get faint hammer ons and pull offs when I dont want them and creates extra noise. Difficult when trying to play fast to get no sound when placing a finger or removing one. Also, You're right hand is so free. Do you ever mute unwanted strings when playing lead lines? Many bluegrass players will not touch at all with right hand. I thought during leads in second position on up the neck, you should mute strings that aren't being played
@@EastboundStudios you play really well. I can't eliminate every extraneous sound, but there are some I try to get rid of. It looks like you plant your wrist--that's a fine way to play, and a lot of people do that. I'm also doing a lot of rhythmic things in the lead, which frees up the hand from the top. Not touching the top with the right hand was unheard of in bluegrass a generation ago. I always have a pinky down. That was my generation. I mute strings that sound bad, but depending on the key, the open strings can add a nice sound to the lead.
@@EastboundStudios if there's more tone than mechanical sound, you're probably ok. Just focus on getting the best time possible. Pick out a model of tone in your mind. A player or recording that you love. Let that be the standard, and go for that. Play beautifully. Focus on making a good sound, not on NOT making a bad sound. My perfect tone model iny mind is a combination of Tony Rice, Ron Block, Pat Metheny from the duet album with Charlie Haden, and Julian Lage from sounding point. I've never gotten anyone right, but that sets the standard in my brain, and I go from there.
@@EastboundStudios if you let the sound make decisions on how the mechanics should work, you usually end up with good mechanics.
@@mandohat Thanks for this, I understand what your saying and will incorporate into my practice. It all makes sense. Also gonna check out the Pat Metheny album you mentioned. I've never listened to him before
Great vid, both for the actual comments about the fretting hand, but also for the recognition that the picking hand is where the real magic occurs - tone, volume, rhythm. As a left handed player, I'm so tired of constant suggestions that lefties sould play right handed because the fretboard is where the difficult stuff is. Sure, it's important, but it's essentially mechanical. Now a good many LH people do play guitar RH and, as a psychologist, I used to explain this at tedious length regarding hemispherical dominance. Now, I just say: 'Why do you think that no stringed instrument is played with the dominant hand on the fingerboard?'
This stuff is good for mandolin players too.
I am working on cleaning up the buzz caused by sloppy fretting. I try to move the guitar to the left a bit. That also gets my pick a little closer to the bridge for a better tone. For some reason, I allowed the habit of fretting in the middle. It's coming along. For jamming in a group, I have to play more deliberately, which revealed this problem. Keep em coming Andy.
Ending cracked me up good. Glad you don't edit out those moments, very relatable
New strings? I love the sound of a good pull off when you actually really pull the finger like you're plucking the string. Some hammer ons, particularly on the high notes take a lot more strength, and perhaps more velocity to get a good sound. My hammerons on high strings are awful.
Synchronisation becomes particularly important when you're upping the tempo - or at least that's when you start noticing the loss of synchronisation if you're usually pretty close with it.
Thought it was going to be Forkey Dear from now on...
Nice!! Thanks.
Thanks Andy for your insight into guitar technique!