Hi Matt! Sorry you’re having all this trouble. You’re definitely still doing the double escape motion here, where the downstroke is going up in the air. I’m also noticing that you’re not touching the guitar body at all, which is unusual. I definitely rest on the body. And I can’t tell what your approach angle is here, or whether you’re doing the ulnar offset the same way I’m doing it in the lessons.
So let’s try this. In the interest of eliminating as many variables as possible, here are two pictures from the lesson chapter taken from around the 5:30 mark. See if you can match this form exactly. The first picture is the start of the downstroke, and the second photo is the end of the downstroke:
First, take a look at the Magnet side of the image. I’m using the most compact trigger-style grip here, where the pick placed somewhere between the far knuckle and the middle knuckle, and the index finger is curled back underneath so you don’t hit the strings. This grip isn’t magic and other grips do work, but in the interest of eliminating variables, use the grip I’m using even if it’s new to you. Sometimes that’s a good thing, and can feel just weird enough that you break out of whatever habits you currently have. I love changing up grips for this reason. Just make sure you have enough grip exposure that you can still reach the strings. Approximately as much grip exposure as I’m using here is a good start, especially if you’re using a larger pick. You still still have plenty to hold on to.
Second, take a look at the left side of the image. If you think of the circular Star Wars logo on my shirt like a clock face, my forearm is not coming in straight down from above at 12 o’clock. I’m coming in more at like 10:30. My guitar is a little tilted and the neck isn’t totally level with the ground. Don’t worry about that. Just worry about the position of the forearm compared to the logo. Try to replicate this approach angle.
If you look at the Magnet shot at the right, you can see I’m resting on the body with my forearm and my palm heels are also resting on the bridge and strings. Your resting points might be slightly different but the key is that there are two points of contact and that’s good. Try to replicate this. You’re just resting, there should be no effort required to do this.
Now look at the left side of the image again. See how at the start of the downstroke my forearm and hand are in a straight line. Then at the end of the downstroke, the wrist is slightly bent toward the ulna or pinky. That’s the range of motion, straight, then ulna, then back to straight again. What we don’t want is a range of motion where the wrist starts out bent toward the thumb, i.e. radial deviation, then goes goes down to about straight, then goes back up to thumb / radial again. We want the motion to go straight, ulnar side, and back to straight again.
Finally look at the right side of the image again. At the start of the downstroke, the pick is in the air. At the end of the downstroke, the pick is resting on the B string. That’s the motion path we want. A straight shot into the strings, to where it hits the B string, then a straight shot back out again. You should be able to feel this B string contact. If you can’t, push a tiny bit harder until you feel it. But don’t kill yourself, this should feel easy.
Try and replicate all these details. Do it sitting down if that’s what you need to do to get the same form, including anchor points and approach angle. I don’t know which of these details are the problem spot, but at the very least we should start with being as identical as possible, so that the only remaining difference is the motion.
Once you have all this, do the motion at the speed I’m doing it in the lesson at about 5:35 or so. Film it and verify it is correct, and that you are hitting the B string and coming straight back out again. If you can do it that fast, you can do it as fast as you can move.
Finally, one more thing. Keeping all these parts exactly the same as they are in this test, try the downstroke escape motion. The only difference is that for this motion, you rest stroke on the lower string. So if you’re picking on the G string, the rest stroke is the D string, and the downstroke escapes over the top of the B string. No other difference in form. Refer to the Downstroke Escape chapter if you want to see what the motion looks like. But the form is identical.
Based on what I’m seeing, I’m totally sure you can do both of these motions and it’s just a matter of getting all the parts set up and then making the motion. I want to make sure we’re giving you the clearest possible instructions for the shortest path to getting where you need to go.
Give this a shot and let us know how you make out.