Does Yngwie use DBX in specific blues phrases?

[punkhouse]

Hi everyone,
I’d like to ask a technical question about Yngwie Malmsteen’s picking mechanics in a blues / blues-rock context.

I agree that Yngwie still uses a lot of USX in his blues playing. That’s very clear in many phrases. However, while analyzing some Reh video examples, I noticed a few phrases with string changes that don’t seem to fit pure USX very comfortably.

I’ve attached the transcription. In these spots, the motion looks more natural if we assume DBX (double-escape), rather than forcing a USX explanation. So my question is not whether Yngwie is mainly a DBX player, but:

In a freer blues context, does he sometimes use DBX to handle phrases that aren’t ideal for USX?

I’d really appreciate any thoughts or corrections from a mechanics / escape-motion perspective.

Finally, please excuse any awkward wording — English is not my native language and I’m using a translation tool.

Thanks!

[BlackInMind]

@Chris_Brooks has an awesome segment in his Viking Shred course dedicated to Yngwie’s blues phrasing. From what I gathered, Yngwie will use outside alternate picking in these instances (same with his descending 3rds/2nds phrases), but I’m not sure it qualifies as DBX, since his form isn’t changing at all, instead theres more likely some kind of finger or wrist helper motion happening.

Also, with things like swiping and displacement, I’m guessing its possible when going for lines that don’t fit his typical USX vocabulary these might occur in both his playing and other USX players.

I’m pretty confident that most players don’t have a really robotic 100% of the time meshing of form to vocabulary the way that someone who is taught these concepts could make the conscious decision to follow. Yngwie just went with what felt natural and his form/vocabulary developed concurrently with each other, but no one was around to tell him to “just stick to USX lines” so inevitably I would expect to see him go for lines that deviate from this from time to time.