Muscle-bound Arthritic Fingers Foiling Speedpick

Bill Hankey · From: Pittsfield, MA, USA

What mysterious force is responsible for speedpicking capabilities not seen in random observations of players as a whole? I think one great steel guitarist once said, " If I could play that fast, I wouldn't want to." Hmmmmm....

Ken Byng · From: Southampton, England

Bill
There is a time and place for rapid single string picking. If it's overdone then it's meaningless, hence Jimmy Day's famous take on the subject. The topic has been covered so many times on here previously there isn't much more that can be added. I think that Buddy Emmons and Tommy White are good examples of using speed picking in passing passages. The real exponents of genuine speed picking have all worked really hard at their technique, and watching Tommy White's fingers very closely on a DVD recently showed that he hardly uses his index finger if at all when he is speed picking. It's all thumb and second finger.

Arthritis and strokes are two of the worst afflictions that can affect dexterity. Not sure about the muscle-bound fingers though, I have never done weight lifting exercises for the fingers. The only person who weight trains his fingers is Bobbe Seymour when he lifts his wallet.

Bill Hankey · From: Pittsfield, MA, USA

Ken B.,

You appear to be very knowledgeable on the who's who in the chain of events as they pertain to the steel guitar. On the subject of speed picking, I would venture that finger rolls have not been discussed at length. Scratching the surface is simply not enough, in reference to your suggestion that the subject has been covered in past postings. Intending to develop a method of speed picking, and actually getting to a point that is equal to that of the great entertainers mentioned, may not be possible. There is an explanation that needs to be addressed. Practice is not the answer. If that is the foolproof formula to speed picking, there would be any number of pickers crowding into the limelight sharing in the successes. To start, no two people are alike. That would be clue # one. When they say, there never will be another so-and-so, I'm a believer in that premise.

Colby Tipton · From: Crosby, Texas, USA

Bill said it correctly. Some people have it and some dont. Some people just play slick, smooth and with taste. Why would anyone want to be like old so and so. I don't want to be like old so and so, I want to be like me. If we all wanted to be like old so and so we would all be wearing little school uniforms and be marching to the same drummer. Thats all I will comment on this subject.

Ken Byng · From: Southampton, England

Bill's original question was searching for a mysterious force that enables certain players to speed pick and not others. I still maintain that speed picking is not something is magically bestowed on a few lucky individuals. It is a technique, and with all techniques it has to be learned, developed and maintained. Whether it is via pick blocking, palm blocking, finger blocking or a combination, speed picking comes with practice, practise and more practice. I will concede however that some players are more blessed than others in being able to play quickly. That is always going to be the case with any instrument. It's just plain natural apptitude.

Tony Prior · From: Charlotte NC

great topic..and I , like others have a thought or two...

Speed Pickin' brings out the great conversation in all of us..

I have read many many definitions pro and con..

Senseless licks..
boring repetitve phrases
Amazing phrases
smooth phrases
exciting
useless with no emotions

here's my take

allthough everyone may not be able to SPEED PICK....

regardless of what they say..they all WANT to...even if they say they don't...it's a private little fib....

the past many months I have worked over and over on phrases that I can apply on the bandstand..call it whatever you want...but they are at 110 bpm...or so...

here's whats required from my point of view

1- a total udnerstanding of the melody lines played in numerous positons

2- A total understanding of chord/phrases played in multiple positions

3- right hand dexterity, thumb , first and/or 2nd finger

4- an auto pilot ability to play phrases across entire chord progressions which means you must know your fretboard , not just think you know it , but REALLY know it.

Only 1 of the above items is physical related, the other 3 are PRACTICE related.

Some folks with limited physical ability can still get the job done because they have put the time in and worked it out. They have found a way to apply knowledge even with a physical limitation.

Our band plays a rotation at a club where we play 4 PAUL JONES medleys each night...These are a medley of HI METER tunes..I can choose to participate..or NOT...

Now I am not claiming to be more than I am..a weekend hack ..but I do have the desire to progress...for me learning phrases at meter was (is) a natural progression.

But I would certainly agree that the JEFF NEWMAN rule applys here..
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Now that you have learned how to Speed Pick, Learn when NOT to !
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Like any Music form, used appropriatley is awsome, over used is NOT awesome...

ps..I have a friend here in Charlotte, a GREAT player, probably the best in the area. He cannot even use his index finger due to some previous injury years back. He can and does SPEED Pick..

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TPrior
TPrior Steel Guitar Homesite

[This message was edited by Tony Prior on 23 August 2006 at 03:59 PM.]

Pat Kelly · From: Wentworthville, New South Wales, Australia

Thanks once again to Bill for raising a very valid topic for discussion. Ken has added most pertinent observations to kick the discussion along. With regard to passing passages; of course the speedier the pick the quicker the passage will pass. Naturally it follows that omitting the index finger will reduce the time elapsed before the middle finger comes into play. Without commenting on Bobbbe's wallet, it would seen a given that the more strokes the speedier the picking.

Over here we have small snacks at parties that are variously described as finger pickings however rolls are often served as well. However that is only common practice in this country and, as Bill correctly surmised, may not be the answer. There are indeed many people crowding the limelight but with varying degrees of success.

Let's see how this topic unfolds.

pat

Randy Beavers · From: Lebanon,TN 37090

Bill, I feel I might have a different perspective than most on this subject. I quit playing for 7 years and didn't touch it. When I started back trying to play I couldn't get my right hand to cooperate. Doing manual work with my hands had quite a negative effect on them. In my opinion flex-ability is much more conducive to speed than strength.

One thing I did that helped tremendously was take two golf balls and rotate them in the palm of my hand using my fingers. You can push them up between your fingers to stretch them as well. I would do this for hours not thinking about it while driving, watching the tube, whatever. Picking a string uses tiny muscles that get very little blood flow. This method seems to isolate those muscles which is something we don't do very often except when playing. It seems that once you develop them they can be maintained by playing.

When I used to teach students would want to know the secret to playing fast. I would ask them if they could play the lick slow that they wanted to play fast. They would always respond with a no. Well...you can't play something fast that you don't first know how to play slow. I come up with lines and patterns all the time that challenges the coordination and dexterity of my right hand. I can't play them at first. But I'll learn and play them slow to develop the coordination. I'll do it over and over and it might be days, weeks or even months later but I will be able to bring it up to the speed I want. The key is "never give up."

I don't think everybody can reach the same level of speed, however I think we can all attain more. As to how to use it? Taste is a deeper subject.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

I think the "auto-pilot" thing Tony mentioned is extremely important. If you limit yourself to thinking about everything you play, you can only play as fast as you can think; and for a lot of us, that's not real fast - especially as we get older. If you want to speed-pick, the licks or scales you're doing must be so natural, so ingrained in your mind, that you can do them without thinking about what you're actually doing. "Pick string three with first finger, hit "B" pedal, release "B" pedal. Pick string one with first finger, pick string three with second finger and hit "A" pedal, pick string five, then string four, release "A" pedal...etc., etc.. Of course you can't play fast if you're trying to think about all that as you're playing!

So we need to practice...a lot, and we need to break things down into small "bites" of two to five notes so we're not killing ourself remembering stuff. Repeat them endlessly, 'til you're sick of 'em and can truly do them without thinking about every little move. Then later, we can take two or three of these little "bites", and hook them together, and then repeat them endlessly until we're sick of them. Get the picture?

You'll eventually notice that if you can do the moves without thinking about them, speed will come naturally; you won't even have to "practice for speed".

One other tip is to completely forget the volume pedal! You've got plenty going on without worrying about the right foot, so set it where you'll be playing, volume-wise, and leave it there (but keep your foot on it, you don't want to worry about taking your foot on and off of it).

Bill Hankey · From: Pittsfield, MA, USA

Thanks Colby, Ken, and Tony for the input that sheds light on the difficult pursuit of speed picking and more. When Buddy Emmons appeared with Don and Phil at the Big E in West Springfield, I spoke to him as he exited his room. He politely responded by chatting a few minutes. He signed Scotty's newsletter that was a special printing. I attended a show in N. Providence, R.I. that featured Buddy and the Dekley steel guitars. It was there that I obtained one of his classic signatures in my friendship book. The focus was concentrated throughout on those gifted hands. Buddy used two amps, and a large effects encasement. The "America's Got Talent Show" featured finger snapping talents that are unbelievable. My first thoughts were, if only my fingers could achieve the same dexterity. The bottom line may very well be, knowing what we want to do, and having the ability to do it, are two separate issues.

Bill Hankey · From: Pittsfield, MA, USA

Randy B.,

While I was pondering your good advice to hopefuls, a new thought came to mind. How many players do you know who don't take their feet for granted? Big boots or small boots, all "play" a part in the delivery of precise pedal action. It's interesting to take note of foot and leg movements. Wouldn't you agree that feet are on an equal plane with flying fingers? The speed picking would come to a screeching halt without the pedal work. Of course I'm referring to the E9th Chromatic tuning. Your expertise is great to review on this forum, and hopefully you will continue to share some thoughts for enjoyable reading in days to come.

richard burton · From: Britain

Could it be that the very best players started when they were very young, with their brains still developing?

Most super-musicians are formed this way.

Micky Byrne · From: United Kingdom (deceased)

Richard, I think I tend to agree with you. Ken, good comment on Bobbe

.... love the guy but would love him more if he answered my e'mails or sign my new website guest book, I guess he's too buisy these days

Ken, I really thought you were well into weight lifting with that twin 10 Sho-Bud Pro 111 custom in that heavy duty flight case. I remember trying to lift it at that gig we both played at recently. Is your right hand a few inchess longer now by any chance?

Micky Byrne www.mickybyrne.com

Bill Hankey · From: Pittsfield, MA, USA

Hi Richard,

It's great to see your name as it symbolizes a man of much knowledge. Your introduction of the youthful adaptation to the learning processes, is a great approach to elucidating this subject matter. We are not writing about learning to swim or riding a bike, but the same rule applies. I'm confident in believing that age and achievement fit perfectly in the scheme of speed picking explanations. The significance of youthful adroitness combined with an invigorating will to learn, supports your belief.

Randy Beavers · From: Lebanon,TN 37090

Bill, yes I do take my feet for granted. They do play an important part in playing many of the lines, but that also makes it easier on the fingers, just as does bar movements.

The whole package is overwhelming if you let yourself think about it. In reality we all learn one simple step at a time then learn to combine it with what we know.

The whole process is much like golf in that you have to learn one thing at a time. Albert Einstein once took golf lessons so he could play with some of his colleages. His teacher told him to do one thing. He'd make a swing then the teacher would tell him something else and on and on. Within a few minutes there were so many swing thoughts going on in his head he couldn't even begin to make a swing. Finally he asked the teacher to give him the bucket of balls. He then tossed all at once about 10 balls at the teacher and said "catch." Then reminded the teacher when he teaches, the student could only focus on learning one new thing at a time. My point is that a mind as brilliant as his still had to use the same "one thing at a time" process to learn.

I've read where Beethoven could be conducting a symphony with one hand, and composing a different piece with the other. That is not normal!

David Mason · From: Cambridge, MD, USA

I read somewhere in relation to sports, that there can be as much as 7% to 12% variation in the speed of nerve conduction between "normal", uninjured people. This is enough that it would absolutely affect your ability to hit a major-league fastball, or win Wimbledon. Practice makes a huge amount of difference, and most musical instruments are ergonomically friendly enough, that's why the designs survive. However, I am 48 years old, 5'10" and 230 lbs. No matter HOW much I practiced, I'm never going to be the starting center for the L.A. Lakers. Likewise, some people have short, stubby fingers, unusual muscle groups and maybe slow nerve speed, all at once. They may get a lot faster with a lot of practice, but never actually "speed"-pick, depending on how you define it. 16th notes at a set BPM, just how fast does it need to be to BE "speed"-picking?

Jeremy Threlfall · From: now in Western Australia

Danny Gatton had stubby, muscley little plumber's fingers - and boy, did they move about.

JT

Carter Starter, Blues Deluxe

Bo Borland · From: South Jersey -

Speed picking in the "nashville style" has always been the weakest part of my playing. I can play pretty fast riffs, mostly stuff in my comfort zone, but not in the typical nashville speed picking style. So I got a copy of the Paul Franklin speed picking course #1 and over the past month, learning all the individual licks as Paul teaches them, and practicing them every day, stringing them together into one fluid solo over a simple 3 chord progression. It all starts to click! Although I am still not playing it at the fastest speed on the CD, in one more week I will be. There are a couple of things that happen when you practice this way. First you start to develop muscle memory, second, the melodies of all the riffs or licks get stuck in your head, I call it melody memory. You will be humming, whistling and singing the licks. You start to anticipate what notes to play next and where they are. Each lick gets faster and more automatic and you don't even have to think about it. Pretty soon you are trying the next speed, you will stumble, but press on and then go back to the last comfortable speed. All of the practicing builds on what you already know. You will start to embellish and build on the licks that Paul taught, adding in stuff that is in your head and pretty soon,
YOU ARE SPEED PICKIN!
My advice is... Do not give up, never retreat!!!
Another benefit of this cd is that it is a talk CD.. there is no tab... so you will develop your ear too. There are 2 lessons on it, each taught at very slow speed then gradually building over 5 or 6 tracks to full speed. I am only at lesson one so far and progressing very quickly now.
I use a old small & cheap soundcraft 4 channel mixer, I plug in my cd player, my IPOD, a radio, & my steel (direct from my efx rack), and I plug that into my amp or my headphone amp. With the headphone setup, I can practice anytime, over & over without disturbing anyone. Another benefit of the headphone rig is that it will help you develop better right hand blocking technique since you can hear all the harmonics and bad blocking that is going on right up in your ears. It also lets me play along with the latest tunes I hear on the radio, new cds', whats on my IPOD.
Good Luck !!!

Bill Hankey · From: Pittsfield, MA, USA

Thanks to all who have written articles of interest pursuant to unraveling the inadequacies commonly witnessed in speed picking attempts. Developing a method of speed picking at home, does not necessarily assure the player that the delivery will be faultless under pressure. I've heard that Connie Smith's "I'll Come Running", can prove to be a stumbling block for advanced players who would emulate Weldon Myrick's rendition of the song. It's an established fact; that particular arrangement requires serious practice time. I would like to get into the nitty-gritty of relevancies that involve limited musical abilities. Mental processes commanding the fingers to get up and move, becomes the first rude awakening that all is not well.

Bill Hankey · From: Pittsfield, MA, USA

Pat Kelly,

Please consider child prodigies as a determinant in the sudden adaptability to the steel guitar. Those who have been developing their musical abilities on the steel guitar, but cannot advance to speed picking, albeit they've tried to do so, points to deficiencies. Granted, it's a harsh assumption, but practice and wishing does not always help one to attain the fruits of success. I feel that the steel guitar in the hands of some future prodigy, will produce sounds never heard to this day. Goose bumps and tears will mark its arrival.

Jeff Lampert · From: queens, new york city

Tony Prior · From: Charlotte NC

I kinda equate I'll Come Runnin as the Stacato Chicken Pickin of Steel guitar, reminiscent of Jimmy Capps Tele' style from the same era..

I think there may be many who have played that style but haven't in years gone by..

I wish they would bring it back...

t

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Chip Fossa · From: Monson, MA, USA (deceased)

Gosh,

Can we get a sample of this?

I am definitely not hip to the song.

Just a taste, guys & gals?

Tony Prior · From: Charlotte NC

ok here it is.. www.tprior.com/Tony/hot_song.MP3

Weldon was clearly in the zone that day..

[This message was edited by Tony Prior on 22 August 2006 at 02:09 AM.]

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