Great clip, and great playing - thanks for posting!
This is a super academic point, but in the interest of general knowledge, what you’re demonstrating here in your ‘dwps’ form isn’t dart-thrower - it’s deviation, or 9 o’clock in clockface terms. This is what we might call “gypsy-style” form. And it looks great. Nice work there. Again, super academic, but dart thrower is 10 o’clock, which is a combination of deviation and extension, similar to what Molly Tuttle or Oz Noy do.
Your uwps form is indeed reverse dart thrower. It’s a combination of wrist deviation and wrist flexion-extension to achieve the escaped downstroke. This is the approach used by Andy Wood, Andy James, McLaughlin, Di Meola, and so on. Again, it looks and sounds great so nice work there.
The reason you’re having trouble is that you’re not just trying to switch between two different pickstroke trajectories - you’re also trying to switch between two different arm setups. I know we’ve taught things this way in the Pickslanting Primer, so apologies from me for the lack of clarity on this point. But even in the Primer, when we talk about extending the wrist to achieve uwps, we’re not talking about flattening out a gypsy-style approach with a big air gap. We’re just talking about a small flexion-extension adjustment to switch between the two forms, such that the arm position does not change much.
Here’s a great example of what this looks like, from a few years back in our original Vai lesson:
You will note there is arm movement. But my overall forearm setup is supinated the whole time. It’s just moving between a slightly more flexed wrist and a slightly less flexed wrist, and back again. This is a minor change and should not feel like a complete overhaul of your forearm.
By contrast, when I use the gypsy style setup, with the flexion air gap, I use that exclusively as an upstroke escape setup. Here’s the very flexed setup:
And here’s a slightly less flexed setup:
Again, these are both upstroke-escape-only setups for me, because they both have a little flexion gap. If I’m looking for both escapes, I’m doing it from the less flexed position more similar the uwps form in your example.
So, to summarize, if you’re doing dual escape, you want to use an arm position more similar to your uwps form in the clip you’ve posted. From that centralized arm position, you can achieve both escapes. If you feel the need to make small adjustments to your setup, do that via a small flexion or extension change.
You can still keep the gypsy-style approach, and use it for those phrases. That’s what I do. It’s just another trick in your bag, and those lines and sounds are killer, so no need to get rid of it.
Nice work here.