Touch, Dynamics, and Accents - Revision history

Meambobbo at 16:46, 29 August 2015

2015-08-29T16:46:37Z

Meambobbo: /* A Fresh Look at the Mechanics of Picking */

2015-06-21T03:13:35Z

‎A Fresh Look at the Mechanics of Picking

Meambobbo at 03:11, 21 June 2015

2015-06-21T03:11:02Z

Meambobbo at 01:52, 12 June 2015

2015-06-12T01:52:27Z

Meambobbo: /* Notation */

2015-04-19T20:18:31Z

‎Notation

Meambobbo at 20:14, 19 April 2015

2015-04-19T20:14:11Z

Meambobbo at 20:12, 19 April 2015

2015-04-19T20:12:28Z

Meambobbo: /* A Fresh Look at the Mechanics of Picking */

2015-04-19T20:08:54Z

‎A Fresh Look at the Mechanics of Picking

Meambobbo at 20:07, 19 April 2015

2015-04-19T20:07:23Z

Show changes

Meambobbo: /* Recap on Picking Technique */

2015-04-19T20:04:58Z

‎Recap on Picking Technique

← Older revision		Revision as of 16:46, 29 August 2015
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	== Pre-Reqs ==		== Pre-Reqs ==
		+	* [[Basic Technique]]

	== Recap on Picking Technique ==		== Recap on Picking Technique ==

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-I like to break down the mechanics of the pick's interaction with the string as 3 different periods, separated by 2 key events.  The periods are approach, displacement, and resonance.  The events between them are contact, and release.  Chronologically, that's approach, contact, displacement, release, and resonance.
+I like to break down the mechanics of the pick's interaction with the string as 3 different periods, separated by 2 key events.  The periods are approach, displacement, and resonance.  The events between them are contact, and release.  Chronologically, that's approach -> contact -> displacement -> release -> resonance.
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-All over the internet, whenever someone asks how to sound like some famous artist, you'll read, "Tone is in the fingers."  It's true.  There's more to playing than putting your fingers on the right frets and plucking the right strings.  We already covered how to cleanly fret and play notes in [[Basic Technique]].  Other technique lessons on [[Legato (Hammer-on, Pull-off)|legato]], [[bending]], and [[vibrato]] will help add flair to notes.  We also [[4th, 5th, and 6th Strings|alluded]] to good right hand technique and the various methods to alter tone and dynamics in picking.  Here we will expound upon '''right hand technique'''.
+All over the internet, whenever someone asks how to sound like some famous artist, you'll read, "Tone is in the fingers."  It's true.  There's more to playing than putting your fingers on the right frets and plucking the right strings.  We already covered how to cleanly fret and play notes in [[Basic Technique]].  Other technique lessons on [[Legato (Hammer-on, Pull-off)|legato]], [[bending]], and [[vibrato]] will help add flair to notes.  We also [[4th, 5th, and 6th Strings|alluded]] to good right hand technique and the various methods to alter tone and dynamics in picking.  Here we will expound upon '''picking hand technique'''.
 This is mainly designed for single note or small chord playing - generally riffing or lead.  This is less important for strumming chords, which is more focused on [[Applying Rhythm to Chords|rhythm]].

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 {{Technique Crumbs|1}}

← Older revision		Revision as of 20:18, 19 April 2015
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	{{top}}		{{top}}
		+
		+	== Homework ==
		+
		+	== Q/A ==
		+
		+	== Related Lessons ==
		+
	{{Technique Crumbs\|1}}		{{Technique Crumbs\|1}}

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 This is mainly designed for single note or small chord playing - generally riffing or lead.  This is less important for strumming chords, which is more focused on [[Applying Rhythm to Chords|rhythm]].
 == Recap on Picking Technique ==
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 For speed, It should be held perpendicular to the face, allowing you to easily alternate between downstrokes and upstrokes without losing speed.  Your picking motion should come from the wrist or elbow, not the thumb or finger joints.  This will help keep a consistent rhythm both on a single string and when picking across strings (see [[C Major in Open Position and Alternate Picking|alternate picking]]).
 == A Fresh Look at the Mechanics of Picking ==

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 }}
 I like to break down the mechanics of the pick's interaction with the string as 3 different periods, separated by 2 key events.  The periods are approach, displacement, and resonance.  The events between them are contact, and release.  Chronologically, that's approach, contact, displacement, release, and resonance.
 === Approach ===
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 The ''approach'' is not necessary.  You may being your picking stroke with the pick already pressed against the string.  I often do this to mute the string, then get a near perfectly "clean" sound to the note.
 === Contact ===
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 }}
 ''Contact'' is when the pick first touches the string.  If the approach was lengthy with a high velocity, there will be a slight audible thud on contact.  It will be noisy rather than musical.  This can be desirable or undesirable depending on context - it adds more noise and volume to the initial attack portion of the note, making it sound more raucous.  On the other hand if the approach was basically non-existent, there will be no thud, and the note will sound cleaner.
 === Displacement ===
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 Other factors that determine how much displacement is available are the shape of the pick, and the angles it is held incident to the guitar's face and the string.  In relation to the guitar's face, it can "hook" the string, avoiding release.  Or it can allow for less displacement.  Similarly, angling the pick in either direction away from perpendicular to the string offers less and less ability to displace it, varying depending according to the pick shape.
 === Release ===
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 }}
 While the ''release'' is nothing too interesting - just the string finally freeing itself of the force of the pick and attempting to return to its at-rest state, the transition from displacement to release is more interesting.  Depending on the amount of displacement as well as the angles, shape, and material of the pick, as the string slides down the edge (or face) of the pick, it will make noise.  Most of the time this will sound scratchy, although some smoother materials may be quieter than others.  This energy does transfer into the string, which will resonate on each side of the pick.  Thus, pick location on the string matters to this sound, and it is why pick slides have their characteristic sound.
 === Resonance ===
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 That said, you may not always want that.  Different angles can give different pick attack noise signatures as well as affect the level of overtones vs. the fundamental frequency.  A lot of this depends on the pick material and shape, and the exact nature of your picking motion.  Its best to experiment with it.  A completely perpendicular angle is going to be sharper on the string than otherwise, and with an approach that has significant velocity, this can also trigger harmonics in the string.
 == Location on the String ==
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 But don't rely on changing positions to dial in that tone.  Move your right hand around to try some new tones out.  For an extra smooth lead, make sure you are picking exactly in the center of the resonant portion of the string; move back towards the bridge for a more aggressive tone.
 == Dynamics and Fret Buzz ==
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 Picking even stronger, you can get even the sustain portion of the resonance to slap against the frets, getting a consistent buzz.  This will overpower the actual note itself, and should be used sparingly.
 == Breaking down the Rules ==
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 Rather than picking directly through the string, you may want to pick diagonally through the string, to add some scratching to the pick attack.
 === Pick Angle Incident to the Guitar Face ===
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 On the other hand, angling the pick the other way will make it difficult to impossible to apply tension to the string without pushing through it and getting an early, weak release.  The sound of the pick sliding against the string may be as loud or louder than the sound of the ensuing resonant string.  Again, this is bad practice for a novice trying to gain pick control, but another weapon in the arsenal of a master.  It is like the reverse of an accent.  Your audience can hear that you are trying to playing a note, but barely anything musical is voiced.  It is like a dying man trying to utter his last words - the incident noise is there, but what is he trying to say?  In the extreme it is painful to listen to (just like a ridiculously strong accent).  But done tastefully, it can earn you legendary status.
 == Accents ==

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-|Touch,_Dynamics,_and_Accents#Contact
+|Touch,_Dynamics,_and_Accents#Contact|Contact
-|Touch,_Dynamics,_and_Accents#Displacement
+|Touch,_Dynamics,_and_Accents#Displacement|Displacement
-|Touch,_Dynamics,_and_Accents#Release
+|Touch,_Dynamics,_and_Accents#Release|Release
-|Touch,_Dynamics,_and_Accents#Resonance
+|Touch,_Dynamics,_and_Accents#Resonance|Resonance
 }}
 There's nothing too special here.  You've decided to pluck the string and started your picking motion.  The most important thing is the position of your right hand, how you are holding the pick, and how you are carrying out the motion (finger/thumb, wrist, and/or elbow joints).  This will determine the velocity, location, and angle of the pick when it contacts the string.  While these things can and sometimes require alteration in the middle of a picking stroke, most of the time it is too late to change anything once you've made contact.  Any change that occurs is due to the string's resistance to being displaced or just the subtle changes in angle that are a result of the pick being moved by a close or distant fulcrum (finger joints vs. wrist vs. elbow).
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+|Touch,_Dynamics,_and_Accents#Contact|Contact
-|Touch,_Dynamics,_and_Accents#Displacement
+|Touch,_Dynamics,_and_Accents#Displacement|Displacement
-|Touch,_Dynamics,_and_Accents#Release
+|Touch,_Dynamics,_and_Accents#Release|Release
-|Touch,_Dynamics,_and_Accents#Resonance
+|Touch,_Dynamics,_and_Accents#Resonance|Resonance
 }}
 ''Contact'' is when the pick first touches the string.  If the approach was lengthy with a high velocity, there will be a slight audible thud on contact.  It will be noisy rather than musical.  This can be desirable or undesirable depending on context - it adds more noise and volume to the initial attack portion of the note, making it sound more raucous.  On the other hand if the approach was basically non-existent, there will be no thud, and the note will sound cleaner.
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 }}
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+|Touch,_Dynamics,_and_Accents#Contact|Contact
-|Touch,_Dynamics,_and_Accents#Displacement
+|Touch,_Dynamics,_and_Accents#Displacement|Displacement
-|Touch,_Dynamics,_and_Accents#Release
+|Touch,_Dynamics,_and_Accents#Release|Release
-|Touch,_Dynamics,_and_Accents#Resonance
+|Touch,_Dynamics,_and_Accents#Resonance|Resonance
 }}
 ''Displacement'' is the pick pushing the string away from its natural resting position.  The sting naturally resists displacement, with more and more force required to displace it further and further.  The pick's material and thickness will determine how far the pick is able to do so.  Also in play is your grip strength on the pick - the string puts torque against the pick relative to where you are gripping it.  Ultimately, either the pick or your fingers will give in allowing the pick to become angled in relation to the guitar's face, so that the string begins to slide down its edge and off the tip.  This is called the release.  (Of course the string will break before becoming severely displaced, if using some incredibly extreme picking method.)
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-|Touch,_Dynamics,_and_Accents#Displacement
+|Touch,_Dynamics,_and_Accents#Displacement|Displacement
-|Touch,_Dynamics,_and_Accents#Release
+|Touch,_Dynamics,_and_Accents#Release|Release
-|Touch,_Dynamics,_and_Accents#Resonance
+|Touch,_Dynamics,_and_Accents#Resonance|Resonance
 }}
 While the ''release'' is nothing too interesting - just the string finally freeing itself of the force of the pick and attempting to return to its at-rest state, the transition from displacement to release is more interesting.  Depending on the amount of displacement as well as the angles, shape, and material of the pick, as the string slides down the edge (or face) of the pick, it will make noise.  Most of the time this will sound scratchy, although some smoother materials may be quieter than others.  This energy does transfer into the string, which will resonate on each side of the pick.  Thus, pick location on the string matters to this sound, and it is why pick slides have their characteristic sound.
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-|Touch,_Dynamics,_and_Accents#Displacement
+|Touch,_Dynamics,_and_Accents#Displacement|Displacement
-|Touch,_Dynamics,_and_Accents#Release
+|Touch,_Dynamics,_and_Accents#Release|Release
-|Touch,_Dynamics,_and_Accents#Resonance
+|Touch,_Dynamics,_and_Accents#Resonance|Resonance
 }}
 As the string attempts to return to rest, its elastic properties cause it to overshoot the at-rest location, bouncing back and forth and producing the desired frequency (and its overtones).  This is ''resonance''.  Usually, all the previous parts of the picking mechanism can be thought of as noisy, while this is considered musical.  However, depending on the amount of displacement, the thickness of the strings, and the guitar's setup, when the string attempts to resonate, it may slap against frets or otherwise create noise.
 Also, the location where the string was picked also determines how the string will resonate - the balance of its fundamental frequency vs. its overtones, as well as its amplitude over time - its characteristic attack vs. sustain vs. decay signature.
 == Pick Angle Incident to the String ==

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 == Recap on Picking Technique ==
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+|Touch,_Dynamics,_and_Accents#A Fresh Look at the Mechanics of Picking|Mechanics
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+|Touch,_Dynamics,_and_Accents#Pick Angle Incident to the String|Angle
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+|Touch,_Dynamics,_and_Accents#Dynamics and Fret Buzz|Fret Buzz
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+|Touch,_Dynamics,_and_Accents#Breaking down the Rules|Rule-Breaking
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+|Touch,_Dynamics,_and_Accents#Accents|Accents
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 Let's start with a recap on picking.  The pick should be pointing directly towards the face of the guitar.  Your picking motion should be parallel to the face of the guitar, moving "through" each string.  No "pecking" or "popping", and no picking diagonally through the string, which can lead to sliding the pick on the string, causing a scratchy or noisy sound (see [[Basic Technique]]).