I’m only basing this on the latest video he released. He had categories:
Ability to mute at any moment without drastic setup changes
Stamina
Dynamics
Speed
Clean string switching
Not dependent on number of notes per string to switch strings
Hand Sync
He made a grid and various players/setups got a + or - in each category. So I conclude that any setup that doesn’t yield a + in each category, is unstable or to use the word he used throughout the video “limited”
I don’t quite think that’s it.
For me, the term evokes an idea of consistency across various contexts, dependability and a tendency for the technique to remain functional in sub-optimal conditions.
However, I’m not certain that I’m understanding the term as @guitarenthusiast means it, if there is a precise definition, how “stability” would be determined, etc, which is why I’m curious.
I guess “stable” in this sense means 'can be used on different guitars, with different strap lengths, standing, seated, running up and down on stage in a lightning storm, with the guitar behind the head etc" and unstable is “I can do it just fine as long as it’s the right guitar and I’ve got my lucky pick and I stand in the right place and it’s a Tuesday”
though there might also be a sort of properly ingrained/learned technique vs still in the working out phase dichotomy in the vicinity as well
In his teaching, “unstable” refers to a type of technique where luck is the predominant factor in whether or not a player is able to execute a given line, in ideal conditions (whatever that would be for the player) or otherwise. In other words, a coin-flip chance at success.
Hahahah pretty much.
I’ve spent quite a bit of time watching his “Does Universal Guitar Technique Exist???” video and full less with a student (in Russian) trying to figure out some of the ‘unknowns’ and… ugh. As far as his right hand ideas with the muscles and not fatiguing, I think I’ve stumbled onto something that might be in the ball park. I don’t know how to describe it, but the muscles in my underside forearm feel kind of… “good” or like they’re being massaged (?). I’m sort of ‘throwing’ my hand down and nudging it back up when it starts to bounce. Man… I have no idea how to describe it.
To anyone who has studied his approach, does this sound familiar? I’ve emailed the guy, I’d like to get his right-hand course and a couple of other ones. I think it’ll supplement what I’m studying here.
@Ghoststrat That sounds like the reverse dart thrower to me, or at least the motion I’ve been working on thinking it’s Reverse dart thrower - when I feel it, it feels like I’m relaxing into the downstroke and flicking my wrist on the upstroke.
That’s pretty much how I was thinking he meant - like “do I have to do 100 takes to get a good recording and play this right?”. I like stability as a term over consistency for that use, I’m used to thinking of it as “can I play X in a clean way, consistently?” which is really a side effect of “is my technique stable for what I’m trying to play?”
@Ghoststrat several of us have tried buying lesson packs from Anton but due to sanctions he cannot receive the funds.
What you are describing sounds really interesting to me and how I was envisioning the concept of the antagonistic muscles firing when everything is just right with the motion.
I’m finding it not too different from things I’ve learned from Troy. In fact, I’d have a difficult time figuring out the differences at all. Granted, I’m just watching, in Anton’s words, a superficial overview of Anton’s approach.
Side note: the thing I’m having a difficult time figuring out is going from single string tremolo / 6-note lick to switching strings.
Really? Didn’t think of that - but surely he could accept BTC or something
I would think the approaches would be somewhat similar up to a point - Troy is reverse engineering the mechanics of players by observation. Anton claims he has, or has been taught, enough relevant sports medicine knowledge to observe a player and guide them to a stable picking technique from first principles.
The one-on-one critique/homework approach is what seems appealing to me, joining the club and getting personalized feedback. I’m strongly considering doing that if there’s a way to in light of the payment issues - although I really want to see where my picking technique can get without plateauing first by using the 902 approach along with maybe 802+swiping or some other escape mechanic on very fast runs.
If I can get to where I want without the classes, it would still be interesting to see how much further instruction could take me if I follow it closely. The only downside is, anything I figure out here - I can share freely, but I wouldn’t want to share anything crucial that might impact Anton’s income after paying for lessons.
Yes, really 
He made no mention of an alternative but told me he’d put me on a waiting list and if and when stuff gets lifted, he’ll let me know.
Yeah you’re making great progress.
So a number of thoughts on Anton’s approach and potential things to practice here.
First - for 3 NPS alternate picking - there are 4 basic patterns that come from 2 parameters
ASC/DESC direction (ascending or descending), and starting Up/Down stroke. So we get 4 six note patterns varying each parameter. However, we aren’t maintaining exact form since we’re anchored so we have to consider the following.
Anchoring the palm at a fixed point
This gives a consistent reference point - Anton’s student here talks about choosing the correct height of the hand. Cross referencing Anton’s other video with a student, that would indicate that I was roughly correct in saying we balance the end of the Ulna near the top of the bridge where the strings emerge. I think the stable point is actually touching the tip of the ulna to the top of the bridge and resting the forearm on the body of the bridge.
Why so specific?
If you rest on the front of the bridge, you won’t have as much forearm stability (my arm tries to pronate more) and you won’t be able to clear the lowest strings with respect to muting, which would contradict one of Anton’s points in his video as far as having full control of muting.
Because you are anchored - this means your form will tend to alter moving up and down the fretboard - there are 6 (or in my case 7) strings. The number of vertical positions to play a six note, 2 string pattern = 6 -1 = 5.
This gives a total of 5x4 = 20 patterns to verify are consistent.
In addition, we are looking for muting, so double that for 40 patterns to verify - muted and unmuted. Certainly a lot of patterns, but a very finite number that will cover all transitions of 3 NPS alternate picking.
To verify the positioning is correct - you should be able to play all of these positions and variations with and without muting. Importantly - you will need a DBX motion to play all of the base 4 patterns. I don’t know 100% what Anton’s escape techniques are - but following the principle of using one muscle for one job as literally as possible, we can still use wrist extension - but only on string changes. So, potentially - if you develop escapes by practicing the above 4 basic patterns with the escape mechanic in play (wrist extension or flexion but only introduced on string changes) you would be adding a single muscle on either downstroke escape if you’re primary USX or upstroke escape if you’re primary DSX, rather than on every upstroke and downstroke. This should be significantly more efficient than maintaining 902 the whole time and you can see in the videos he does not do that.
Pick Grip Construction (supplied by student in this video)
Anton starts his students out on the G string, playing with strong picking and dynamics, and pushing through the string. This should be mastered on the G string then transferred to heavier strings.
To accomplish this, he uses the above pick grip approach, where the pick is stable and is pinched between hard surfaces while being ergonomic.
So perhaps, practicing the 4 six note patterns, using 802 with 902 for escapes on downstroke, and starting on the G/B strings then progressing, would be a valid approach to this once you have a stable pick grip.
Great post @cmcgee11235
I have been talking with @carranoj25 a little offline about Anton. We’ve discussed the video you linked that Anton’s student posted on YouTube. @carranoj25 found an interesting tidbit in the comments:
Pretty interesting and I’ve got to say, there does appear to be a good amount of rotation in some of Anton’s playing. Particularly the second half of each arpeggio in his version of Tumeni Notes
If you slow that down to like 25% speed, it really does look like he’s “throwing” his forearm to rotate it.
This isn’t quite right, I’ve mentioned this here before.
We don’t have a muscle which results in wrist extension without deviation. Our antagonist groups create the diagonal paths, dart-thrower (flexor carpi ulnaris and extensor carpi radialis/longus) and reverse dart-thrower (flexor carpi radialis and extensor carpi ulnaris).
Interestingly, if we want a tight hold on the pick, there’s really no reason not to reinforce the DIP of the index finger with the DIP of the middle finger. Flexion at the DIP joints is caused by flexor digitorum profundus, which is a mass action muscle. We can’t activate flexion at a DIP for any individual finger. However, the innervation is interesting. The lateral side (index and middle fingers) is innervated by a branch of the median nerve, while the medial side (ring and little fingers) is innervated by the ulnar nerve.
This means that if we flex the DIP of the index finger to form a tight hold, the lateral side of FDP is activated and there will unavoidably be flexion at the DIP of the middle finger, but we can avoid activating the medial side, so the DIPS of the ring and little fingers can remain loose.
Similarly, we could tightly flex the DIP of the little finger, creating unavoidable flexion at the DIP of the ring finger, but keeping the DIPs of the index and middle fingers loose. However, tight flexion of the DIPs of either the middle fingers seems to require activation of both sides of the muscle, meaning that we cannot tightly flex he DIP of either finger without creating strong flexion at every finger.
What all this means is that a tight grip with the index and thumb will necessarily activate the middle finger also. There’s really no reason not to reinforce with the middle finger when forming a tight grip because it’s going to be activated anyway.
@joebegly well, now that looks like the motorcycle grip - I found the follow up to the arpeggio lesson where he demonstrates how to play Get Out of My Yard and he clearly is using a combination of extension/flexion with forearm rotation when picking slowly, How to play arpeggios | Get Out Of My Yard, Malmsteen, Gilbert, Bettencourt | Part 2 - YouTube
@Tom_Gilroy to be a little more precise, I was saying that you only add one muscle to get extension from deviation, radial and ulnar deviation using a single muscle, and extension/ flexion each using two (if I understand it correctly from what I’m reading), but technically that would mean the additional muscle is the one with string changing responsibility, even though two are used in combination.
However, now I’m also thinking he is maybe tening towards motorcycle grip like Troy does here? Critique Troy's crosspicking!
I don’t recall if it was mentioned why or if motorcycle grip would be limited relative to wrist only DBX motions?
No, this isn’t quite right.
We don’t get ulnar and radial deviation from one antagonistic group and flexion and extension from another group. Each antagonistic group creates a diagonal path.
For example, if our primary picking motion is created by the antagonist group flexor carpi radialis and extensor carpi ulnaris, our base picking movement will be a reverse dart-thrower (802). We can’t not have a component of flexion and extension.
However, to turn that reverse dart-thrower (802) movement into the an effective crosspicking movement (902), we have to recruit the other antagonist group. The action of extensor carpi radialis reduces the amount of flexion on the upstroke giving radial devation without flexion.
Pure ulnar to radial deviation without any flexion/extension requires the engagement of both antagonist groups throughout the movement.
This is one thing i dont fully understand. For the student to pull/hold his hand higher, wouldnt this cause tension? He would have to activate muscles to hold his hand/arm higher. Unless the tension gets alleviated based on where the forearm rests on the bridge?
I think it’s a language barrier thing. I noticed in that video several times he (Anton’s student) said “hand” when I really think he meant “arm”.
