Double escape? (Crosspicking)

What I think I’m doing
double escape, wrist, descending pentatonic 4ths inside picking

Am I close?

I’m trying to use the same basic arm position
And grip for my single and double escapes.
This position also allows me to integrate hybrid and eco so If this vid looks close to ok I’m very satisfied that I will ultimately be able to combine this all fluidly.

I have been trying to go more ulnar in general with my single escapes but once I hit record I kind of panic and what happens happens.

Thanks for looking

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hey charface, saw ur video and i think ur forearm angle is slightly pronated one which is if my understanding is correct perfect for double escapes and single escape (downstroke escape or dsx) … the proof for the fact that it is helpful for double escape too can be seen from the video https://www.youtube.com/watch?v=R9ZFlGDc6hI where bluegrass player molly tuttle can be seen playing double escape strokes using pronated fore arm ( definitions of terms pronation is on the website )…its my opinion, wait for more expert opinions :+1::metal:

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one more thing ,fast forward the above video to 6:24 to see molly tuttle, or u could see the whole one to get more understanding on wrist picking

Excellent, thank you
I’ll check that vid now

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This is a good start, but it looks a little wiggly, as in, not strictly a wrist motion, but a little bit of forearm rotating on each note. This can work, and great players like Andy Wood do bits of this on certain phrases, somewhat idiosyncratically. But in my experience these types of lines feel smoother when you find the arm / hand position that doesn’t require the wiggling. And that’s a little more ulnar than what you’re doing here.

In addition, an easier phrase to start with would be one without as much back and forth between strings, like this one we looked at:

Doesn’t have to be all six strings, could be four or five, or some variation on this. In general, seventh chord type lines work out well for this because they usually end up with a mix of one and two notes per string. Choose your favorite tonality and work out some cool shapes across three or more strings, and you’ll have some cool phrases to add to your vocabulary that aren’t vanilla box or scale shapes.

@charface looks like he’s using a supinated setup here, not a pronated one. In Molly’s case, the right side of her hand is off the strings. Here it looks like there is contact. It’s a lightly supinated setup, like Andy Wood or Mike Stern, but it appears to be supinated with respect to the strings. The plane of the strings is the point of reference we use, i.e. not anatomical supination / pronation, but “strings supination” or “strings pronation”. Confusing, I know.

This is a tricky subject because both supinated and pronated setups work for these phrases. Even more supinated setups, like Albert Lee, Eddie Van Halen, and Steve Morse, also work — you just need to change your grip to reach the strings.

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Thanks guys,
I’m glad to hear my 7th type arpeggio shapes will work well for practice. I’ve needed a reason to dust them off.

I really like the way you sequence them in the instagram video

Back to the drawing board

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Also I think the new material is great.
I admit that it’s in my nature to avoid digging into the “less sexy” topics like learning about the wrist and pick grips along with the terminology.

But when all else fails, read the directions

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