David Grier Strips for Science!
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- Опубліковано 30 вер 2024
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In this clip from his Masters in Mechanics interview, David Grier rolls up his sleeve and proves once and for all there is neither rabbit nor ace of spades present. Instead, at the heart of his incredible crosspicking ability, is good old-fashioned wrist and forearm mechanics.
David is a great sport in this and many other moments in his Masters in Mechanics interview, and we're honored to get such an up-close look at his abilities. Learn more about the full interview here: troygrady.com/...
mesmerizing!!!
2:05 You've heard it folks
Best title in UA-cam history
That part of the thumb is called the "thenar eminence". Your piece of trivia for the day. en.wikipedia.org/wiki/Thenar_eminence
Excellent!
This guy is unreal. Beautiful tone, flawless playing, speed, unbelievable cross picking, etc. Complete deal.
So many questions arise...that loosenes at high volume... how. Is it the guitar? No edge picking result in a better tone? At least on an acoustic I assume. Good for crosspicking, but can those great crosspickers...with high average cruising speed play a high speed scalar passage? I know that this has nothing to do with the music they play. It is just, that I do not like the sound of edge picking, but to some degree it seems mandatory for McLaughlin level speeds. At least for me pickslanting of any sort comes easier with more edge (less resistance), but the tone suffers...gets scratchy. Any thoughts on this?
Mr Grier a little annoyed with Troy’s analyzing. 😂
That right hand is perfection...
You should do a blooper reel of all of the times someone drops their pick in the hole! :)
That would be a pretty short reel - it's never happened!
I've had one rattling inside of my old resonator for years! It was from Jerry Garcia... you should have HIM on!! He couldn't pick that great but the missing finger sure would be cool! :)
he died. quite a while ago .
I really enjoyed the full interview. Between this, the Andy Wood interview, and the Carl Miner interviews, one thing that really stands out to me is how frequently picking-hand anchoring plays a major role in elite playing, even though different players can anchor in different ways, and might even use different anchoring approaches in different situations. The reality of what these elite players do to get the impressive results they do flies in the face of the "received wisdom" from countless guitar teachers (and from institutions like Berklee College of Music) that anchoring is supposedly never a good thing.
I'm starting to wonder if the advice started out as a more limited caution about the potential for the ability to reach all the strings to be hampered by anchoring right-hand fingertips. Then perhaps over the years the lesson somehow got mutated as it was passed down through generations of teachers and students until it grew into the widespread over-generalized and exaggerated prohibition against anchoring that well-intentioned teachers seem to repeat so often. Even elite players who are ostensibly "not anchoring" are frequently in fact anchoring part of the heel of the hand or edge of the hand on or behind the bridge. This is to say nothing of guys like Yngwie who achieve incredible results with clear fingertip "anchoring" on the pickguard.
+severalpaperclips Glad you enjoyed the interview. We feel privileged to be getting such a great look at these players. Re: anchoring, I'm honestly not familiar with the 'anchoring is bad' sentiment. Is that a thing? Nobody ever told me this when I was learning and I've certainly never thought it. How are you supposed to mute with no anchor?
Maybe others can chime in on whether it's still a thing in their experience. I heard it from multiple "back of the guitar store" teachers back in the 80s. To whatever extent it is a thing, I'd guess it had it's origins in styles where feedback (and thus right hand muting) weren't major considerations. I was taught right hand muting for effect in chugging metal rhythms but to focus on left-hand muting the rest of the time. Early on, I started letting the last couple of fingers on the right hand graze the pickguard area, and thankfully it didn't get drilled out of me even though I was warned it was supposedly a "bad habit". I've read similar anecdotes online over the years, and assumed it was widespread, though I'm not an authority.
I also think there's some gray area, i.e. some people will say anchoring with the heel of the hand is ok, but not the fingertips, or some wil say that even fingertips are "allowed" as long as they are free to glide around rather than being "rooted" in one place.
I'm pretty sure Larry Baione speaks against anchoring in the DVD companion to the Bill Leavitt's famous "Modern Method for Guitar". And I've read anecdotes online where people talked about the Berklee guitar program requiring students to use a "floating hand", though perhaps students with recent experience could comment on whether that is (or ever was) true.
I haven't heard "anchoring is bad" as much as I've heard that resting your hand is bad, like what David Grier hinted at in the video--at least unique to this style and Gypsy jazz. I know guys like Bryan Sutton are adamant about people not resting on the bridge pins. Grier brushes against them but doesn't fully plant. Sutton and Chris Eldridge are both big preachers on this. First, resting on the bridge pins limits your range of motion in your wrist and sucks power and tone from your right hand (since the motion starts at the elbow). Second, Eldridge explains in his Sonic Junction lesson that by resting on the bridge pins you are in effect preventing the top of the guitar from fully resonating, and thus keeping your guitar from getting the best sound it possibly can.
In bluegrass and Gypsy jazz where power and volume is everything and muting isn't really a part of the sound concept, this is a big deal. For guys like Al Di Meola et al where right hand muting is more frequent, then it's not.
Troy Grady Graduated from the Musicians Institute in 2013 and the 'no anchoring' thing popped up from a few teachers so I changed up my style and am now trying to redevelop the Carl Minor style of anchoring.
the way he does those three string jumps that fast is really impressive
Sooooo interesting! Thank you Troy :)
When does the rest of the interview contuine?
Looks like the fine motion is mostly wrist side-to-side with a little occasional rotation thrown in.
Many years ago, I had several full days of face-to-face instruction from David in a small class environment (~8 people - RockyGrass Academy). That was, however, back before Troy taught me that analyzing motion mechanics is a useful tool. You can even note David indicates here 'use whatever works best for you' around 2:10.
Monster player and a nice guy to boot.
I appreciate the sentiment behind the frequent advice to "use whatever works best for you", but people who give that answer often seem to miss the point that "finding what works best for you" can involve trying things you haven't tried before, or more to the point: things it never occurred to you to try.
It's like if people had asked Dick Fosbury to explain his high-jump technique, and he had replied "just do whatever works for you". No, clearly he's doing something that works particularly well for him, and the rest of us want to understand the details so we can try it for ourselves and decide whether it's any better for us than what we've been doing before.
severalpaperclips Josh Williams, who plays with Rhonda Vincent and is a monster guitar player, says this a lot too. I think players like him and David just kinda hit the wooodshed until they get what they want, and don't really analyze their playing to where they can articulate it. They just care if it sounds good and is tension-free.
Right. And I don't begrudge the fact that what worked for David worked for David. But he seems to be of the mind that anyone who simply puts in the amount of effort he did will get results similar to what he got, and I don't think that's true for most people.
I've often compared this to learning to do naturalistic drawing, which is something that some people intuitively figure out on their own (the kids in school who get described as having a "natural talent" for drawing), and to them, it seems obvious how to draw and they don't get why other people can't do it. That doesn't mean they didn't put in time and effort, but there are other kids who put in a lot of time and effort without making similar progress, and don't understand why, other than shrugging their shoulders and resigning themselves to the "fact" that they "just suck at drawing". But training for draftsmen and illustrators has long since reached a point where naturalistic drawing is a well defined problem whose solutions can be taught to anyone regardless of what drawing ability they started with. Effort is still required, but people don't have to flail around in the dark. Guys like David are like the kids who figured out drawing on their own, and they have trouble wrapping their heads around why anyone else "doesn't get it", and why there might be a need to break down the solutions so they can be taught to people.
Another metaphor: it's like saying that if you want to become a world class chef, all you have to do is put in a ton of time in your kitchen. Only a very small percentage of people who attempt that approach without a lot of guidance from others with more experience will reach their full potential, and they'll spend a lot of time needlessly re-inventing the wheel along the way.
wow, like a machine, absolute efficient economy of movement...practice practice practice
I wouldn't say anything other than experience.
I want to know how tightly he's holding onto that pick. I find the pick slipping around when I trying to play with the buttery softness.
With a title like that, the League of Decency might get on your case! Fortunately, David's picking is the cleanest ever, so no raid needed!
Wow. Really cool video. This was really helpful for me, as I have recently been taking a look at the hand position I use. Looking forward to watching the full interview.
Once again it looks like to me like more pick tip is used on the upstrokes less pick tip on the down strokes? When I try that it seems to be more accurate but what do I know lol
Any full version of this soon?
The full version is up on our platform right here ( troygrady.com/interviews/david-grier/ ). You can also find an amazing version of David's "Angeline the Baker" on the UA-cam channel ( ua-cam.com/video/ypOPZAY0Edo/v-deo.html ). Generally when we film interviews on the road we put those on our platform. But if we do an interview that is a live UA-cam broadcast to begin with, those will often end up on our channel.
Wow.. That's cool!
Wow what great picking!
Cool angle and those slow motions :O
Love to see Bryan Sutton in that seat.
does anyone know what he uses for picks? and am i seeing things or does he play with the round side of the pick and not the point?
We've sat down with David a few times, and he usually brings a custom pick which someone makes for him. They're about 1.2-1.4mm or so, and made of something hard, like polycarbonate. He's not playing with the round side, it's just that the point itself is pretty rounded and he uses relatively little edge picking. Here's a quick explainer on how that works ( ua-cam.com/video/fuCEe0yCfzM/v-deo.html )!
@@troygrady thanks!
Is he playing with the round end of the pick instead of the pointed end?
David usually uses Golden Gate shaped picks, all corners rounded. This one looks like shell for sure.
Sweet!
Lol 55 dollars to watch full interview !
+G Jones Or you can subscribe for twenty and watch everything we have. Up to you.
Which kind of pick he use?
Looks like shell.
Does that string crossing motion look like string hopping to anyone else? It seems to have the 'bounce' Troy talks about every time he mentions string hopping. Also, Grier apparently does not use rotation to achieve his crosspicking. So is it possible that Grier has managed to make string hopping efficient?
It's subtle, but I think there is rotation going on. You can see a slight "scooping" motion, like a pendulum back and forth, in the slow-mos
lol, wha?
Am I... First?
westbrionage congrats lol