There must be some. DSX + descending sweep is still my main technique and I’d like to transcribe some jazz stuff to get fresh DSX ideas I myself wouldn’t think of. I’m not talking about DiMeola/McLaughlin type of shred guys, more like Joe Pass, Wes Montgomery kind of phrasing.
About 10 years ago I took a few lessons with a great player named Greg Duncan, who could burn through bebop stuff/bebop influenced stuff very well, at super fast tempos. He was primarily working with DSX pure alternate picking at the time.
I’ve done a lot with re-fingering/reorganizing jazz vocab for USX and the principles would be largely the same for DSX. A tip: aside from the obvious coordination of escapes on the correct strings, when a line backs you into a corner without a great DSX solution for picking, slurs on downbeats often work better in the jazz idiom, or listening closely to the accents of the original line and determining a slur or hammer from nowhere based on the original.
A recent discovery is that when using one-way escapes for bebop, if we had to choose between changing to a new strong on an upbeat or a downbeat, I think the rhythms and phrasing work a lot better when changing to a new string on an upbeat.
I’ve renamed the thread a little bit. I’m looking for examples of really good players that use DSX only. No helper motion, just changing strings after a downstroke, with descending sweep or swiping.
It’s really interesting, USX players very often just stick to thier core motion and build their vocabulary around it but with DSX players that are really good there’s usually some additional motion going on to break out of the limitations of DSX (Andy Wood, Paul Gilbert, Al Di Meola, Vinnie Moore, MAB for example).