Inside string changes back to back

I wanted to be more comfortable and consistent doing them and be able to do them floated (not anchoring)

I was wondering if I could see @Troy do a back to back like that since he does them super well on the Instagram video where the double inside
happens for the triplet sequence arpeggio part on the first insta post.
My understanding is it’s rotation passed supination orientation with wrist deviation and the blend feels like 1 to 8 ish. And I was trying to get it to escape evenly and very wide. And I notice myself sneaking in some shoulder and elbow to possible help it out?

I’ve also had a hard time finding more footage of players doing this in general

My biggest concern is understanding it and being able to have a floating version

1 Like

Hi! Sorry for the delay in getting to this — we’ve been swamped. Here you go:

Short story, what you’re doing looks fine. No changes recommended. Just try to play a wide variety of music using this form over the next six months to a year, and this will probably clean up over time.

Longer answer: There really is no such thing as an “inside picking” technique. There are just many different picking motions capable of doing both the upstroke escape and downstroke escape pickstroke. When you do them back to back like this, this is what you get — a double escape pickstroke that looks curved. So you will find methods that use wrist motion, blends of forearm and wrist, blends of elbow and wrist, finger motion, blends of finger motion with the other joints, and so on. None of them are more “right” than any other.

Steve is a wrist player. He uses a supinated arm setup and a middle finger grip. His approach is mainly wrist, with (mostly) no other joints helping out. Because of his arm position, his wrist motion is close to the flexion-extention axis. When you change your grip like you’re doing in the second clip, you are also changing your forearm setup, and this requires a wrist motion more similar to what Steve is doing.

This is not “better” than the less supinated setup you are using in the first clip, which is more similar to what I’m doing here. It just forces you to use a different wrist motion. My advice is to do whatever works best and to feed it with musical variety to clean it up.

What I mean by this is not endless drilling of two notes on two strings. That’s not enough variety for the picking hand to “learn” what correct form feels like. What works better is musical phrases that involve some of this, mixed in with other fingerings. The kind of lines you find in jazz, prog, and proggy metal, for example. This gives your hand a way of feeling around for the smoothness that comes when the form is correct across all fingerings. Again, in general, I don’t think etude type stuff that only focuses on one type of motion provides enough variety, and I think drilling that kind of stuff produces fewer results than “real world” playing that mixes things up a little more.

Who uploaded that Steve Morse clip sideways. I assume that was to avoid YT detection. Was that you? If so no problem since I assume you are posting that for reference here.

2 Likes

Thanks for the reply just saw this! And ya I uploaded to show as an example sorry I can take it down. And I noticed that doing this I have to track in a straight line. Possibly to keep the arc even through out. Like if I were to track with my wrist too far in one direction I would “run out of wrist” and not be able to have an equal rotation. Also mega thanks for the video example and advice!

No worries on the upload. Not sure what you mea by tracking in a straight line, but when you’re playing on two strings, or even through, you really don’t have to move your anchor point. A 2-3 string distance is small enough that you can get it from one position, and the picking motion itself simply takes you from string to string.