Fretting Hand position

Playing Technique
#1

Hey guys. I’m working on playing fast single note lines, all alternate picked. Like Vinnie Moore’s Pepsi lick, for example.

I’ve noticed that I will sometimes use two different “grips” for my fretting hand. The first grip is more comfortable because I can use the joint in my thumb as a fulcrum on the back of the neck. The second grip looks more “correct” to me because I am able to drop the cup of my hand lower and get my fingers more around the fretboard. Since this is strictly for alternate-picked single note runs and no bending whatsoever, is the second grip better? Is the first grip limiting? Does it matter?

https://imgur.com/gallery/ZpTsEWG

#2

This has been discussed here a bit. I’m a big advocate for position #1 or as I nicknamed
It, “violin grip” since it more mimics the hand angle of a violinists left hand. I consider this an optimal “default” position for the left hand, as it allows for the most neutral position possible for the wrist while sitting with the guitar on the right leg or while standing. It also allows for minimal over-exertion of Finger extension, since the angled position allows the fingers to stagger in order to gain a good reach vertically.

For proof of this position working well, watch… well almost any great rock guitarist. The two that come to mind that maintain this position for much of their playing are Yngwie and Bumblefoot. Check out some videos of theirs and see what I mean.

The other position isn’t bad per se, I would just move into it when necessary (reaching the low strings) and move out of it when not necessary.

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#3

oh cool, I was rooting for position #1. Violin Grip is also a cool name. I’ve seen the second position suggested for better legato playing. Is there any validity to this?

#4

I think it depends on the line. I’m perfectly fine doing trills or Greg Howe style tapping from violin grip. Also consider its popular to do stretchy licks legato style, so by default you’d have to get into a more flexed wrist/thumb behind the neck position. However, once again I’ll point to Bumblefoot:

Notice how he is pretty much entirely operating from “violin grip” throughout this whole tapping/legato tune (except for all the hand over the top of the neck stuff). However, nothing he is playing is requiring super stretchy Allan Holdsworth style intervals. You can see how he keeps his fingers close together and uses the finger/wrist angle to do the work of reaching all the notes as opposed to using excessive finger extension.

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