Supination/pronation is the single biggest change in my right hand thought process in the last 15 years. Game changer. I've been thinking about this idea for at least a year and it only recently "clicked" for me in practice. Thank you, Hayes, for bringing this to a wider audience!!
A cool tune, as were most of Monroe's tunes. I wonder how many speed pickers use this pronation / supination concept with their work. Of course, they can figure it out. Most pickers don't do anything else all day long except pick, eat, pick, play a gig, eat, have a beer or other beveridge, pick, maybe sleep, pick, go to church, pick, eat, etc, etc. Me? If I hear a tune that grabs me, I try to work out a tab sheet if necessary. 150 bpm is my limit. Sorry Mr. Monroe. But a great tune I've been after for a few years.
I play by learning from TABs and by ear if necessary. Sometimes my pick gets hung up on the wrong string and messes up the smoothness and timing. I will look at the notes on paper to see where I need to roll my wrist in or out, depending on the number of notes per string. Thanks, my friend, for bringing all this to our attention -- very helpful. Now off to practice a few tunes I'm working on. Bob
I think the supination/pronation is showing us how important it is to use the whole hand to move the pick, and not to try making it work by just using your fingers. The basic downstroke/upstroke pattern should result in the correct supination/pronation. When you are playing fast, I don't notice much exaggeration of tilt, but you see the whole hand moving and rolling. The B part is definitely showing a "looser" hand/grip,
The third measure of 2nd half of the A part has 2 up pick strokes after the B note on the A string. Up on the G note on E string, up on the A note on E string, down on the second G note, up on open E, down on 5th fret of A string and last, up on 3rd fret of A string. The tabs may point this out, but I'm working this tune out by ear. Hayes doesn't point this out.
Is speed playing something that you are interested in?
Supination/pronation is the single biggest change in my right hand thought process in the last 15 years. Game changer. I've been thinking about this idea for at least a year and it only recently "clicked" for me in practice. Thank you, Hayes, for bringing this to a wider audience!!
You’re welcome dude! Still figuring out the finer mechanics of this supination/pronation stuff myself, but really glad it’s helped you.
A cool tune, as were most of Monroe's tunes. I wonder how many speed pickers use this pronation / supination concept with their work. Of course, they can figure it out. Most pickers don't do anything else all day long except pick, eat, pick, play a gig, eat, have a beer or other beveridge, pick, maybe sleep, pick, go to church, pick, eat, etc, etc. Me? If I hear a tune that grabs me, I try to work out a tab sheet if necessary. 150 bpm is my limit. Sorry Mr. Monroe. But a great tune I've been after for a few years.
Great use of the G scale
Thanks for this video! Also, enjoyed seeing that awesome Red Diamond! Not many of those around!
I play by learning from TABs and by ear if necessary. Sometimes my pick gets hung up on the wrong string and messes up the smoothness and timing. I will look at the notes on paper to see where I need to roll my wrist in or out, depending on the number of notes per string. Thanks, my friend, for bringing all this to our attention -- very helpful. Now off to practice a few tunes I'm working on. Bob
I think the supination/pronation is showing us how important it is to use the whole hand to move the pick, and not to try making it work by just using your fingers. The basic downstroke/upstroke pattern should result in the correct supination/pronation. When you are playing fast, I don't notice much exaggeration of tilt, but you see the whole hand moving and rolling. The B part is definitely showing a "looser" hand/grip,
Great observations!
The third measure of 2nd half of the A part has 2 up pick strokes after the B note on the A string. Up on the G note on E string, up on the A note on E string, down on the second G note, up on open E, down on 5th fret of A string and last, up on 3rd fret of A string. The tabs may point this out, but I'm working this tune out by ear. Hayes doesn't point this out.