If one wants to swap in some Yngwie/Friedman material from the RDT form, what are some usable neighboring forms for continous USX playing? I suppose any form that requires a position shift, but minimal fiddling with pick grip and/or pick point?
This thread linked to some videos in the old primer that seemed to cover that topic but have since been deplatformed. I’m sure others are wondering about this too, so perhaps they could be remain unlisted but reachable through the forum?
Yes, I’m keen to know this as well. I think it would be good to add a section in the Pick-slanting Primer on continuous USX, DSX and DBX and what joint motions/form can achieve them and its closest complimentary motion to achieve the other escapes
For e.g can the three finger RDT motion which traces continuous DSX/DBX be changed to accommodate continuous USX for Yngwie style patterns?
Based on Troy’s first round of RDT videos, my understanding is it’s just a matter of tilting (supinating) enough allow the upstrokes to escape. That admittedly seems too simple. I don’t think I can do it, an attempt here viewed in slow-mo looks more like DSX with a helper motion where the USX is needed. Around 0:17 I go into a more “rotational” tremolo and immediately you see the difference as the pick pulls away from the body on the upstrokes.
So, yes. I’m interested on the official “how-to”.
I’d talked with Troy about this in another thread and he said it was RDT. Plenty of USX going on there.
Pretty sure Troy’s mentioned it’s on the roadmap to have the “escape specific” guides in there but the important thing for now just being able to do some RDT movement that feels fast and easy.
I love this idea!
I guess wrist/forearm USX is an option, as the wrist part of the movement is RDT but I can do this motion and I think it’s quite hard to use it for mixed escapes which doesn’t appeal to me.
I wish I could figure this out, I think when I supinate my DSX motion it either becomes deviation based wrist USX (feels like the speed limit is lower) or my wrist/forearm motion which isn’t good at mixed escapes. I can’t work out how to keep the extension part of the movement without either of the other motions taking over!
It may be part of the reasons people like you and me should just concentrate on one (or 2) motions and stop trying to learn them all lol! In the clip I posted, that short bit of tremolo that’s clearly rotational…I don’t even think I can do that once the fretting begins. I thought I’d overcome that but the camera doesn’t lie. Once the fretting comes into play, my picking hand just does what’s it’s known for 2+ decades.
I’m beginning to the think one main motion that is mixed escape capable (let’s say, the Wood/Di Meola) is good enough. If we need to go faster, we can always recruit the elbow, which Andy Wood himself does once he gets above 6’s ~130bpm
Yep, I think you’re right, I’ve come to the same conclusion. I’ve switched to solely DSX wrist with a helper motion and just try to include the odd phrase which needs tiny bits of DBX (like going up a 7th arpeggio), maybe this is a more natural way to learn it anyway 
It’s a shame learning new motions is so much fun lol
but how would one play yngwie style sixes pattern in this case without rearranging the lick to start on upstrokes?
My next one will be the pure DBX kind of one so I can rip Tumeni Notes properly next time lol
You could do it like I did in that clip I posted that wasn’t usx: helper motion just where the usx stroke is needed.
The whole “start on an upstroke” thing really isn’t so bad if you just think about it differently. If you were holding a pick and tapping it on a table, palm facing down, all the taps would actually be equivalent to the motion used for upstrokes in guitar playing. I stumbled upon just how easy it is to tap the pick on the strings to the beat of the song, lock into that groove and start playing phrases. You may surprise yourself. I know it’s hard to get past what we’re used to, but thinking about it more from a “rhythm” standpoint than a “guitar player” standpoint helped a lot. I think it is a great tool to have for when it makes sense.
Shawn Lane and EJ both have licks that they start on upstrokes for the opposite reason. They can’t do continuous dsx, so occasionally they have a phrase that requires they start with an upstroke.
dont forget the thumb! i have seen more and more gypsy jazzplayers doing it, and i don’t even think they realize it. but when that tempo and phrase become to abnormal you see it happen.