Date: Wed, 16 Jun 2004 10:41:32 -0700 (PDT)
Subject: Mandolin crosspicking

Mickey,

Greetings Ed,

Glad to assist...

I'm having trouble with understanding crosspicking.

What is the difference with standard/normal picking as compared to crosspicking?

Crosspicking differs from the standard flatpicking approach as follows:
1. Crosspicking is an arpeggiated form of playing guitar or mandolin...this means that the picking pattern involves more than one string and is more of a vertical approach to playing lead...as opposed to a horizontal approach normally offered by standard flatpicking.
2. Crosspicking is pattern oriented...usually there are patterns that the crosspicking falls into...for instance, a forward roll would be played from the D to A to E string repetitively...while both the lead and chordal patterns change on the fingerboard...many times this picking pattern remains the same....
3. Crosspicking emulates that of a banjo roll...here's an excerpt from one of my crosspicking books that best describes this:

"Crosspicking bombards the listener with a barrage of notes. As is similar to Bluegrass banjo, crosspicking guitar (or mandolin) doesn't seem to pause for a breather. A continuous succession of notes pours forth establishing the melody while filling in all of the spaces with harmony notes. Not only does the guitar support itself, with spaces filled harmonically, but crosspicking technique works effectively for supporting other lead instruments and vocals. As an accomplished guitar player, you are or would be capable of varying the backup of an ensemble (band) with many colorful approaches; for example, one verse you may want to add bass-strum backup while the second verse you could apply a crosspicking backup."

Is there a written definition for crosspicking.

I've never seen one...

Is crosspicking used on any other instrument other than a mandolin.

Yes, it's a common guitar application...

I'm going to purchase a Mountain Dulcimer, is crosspicking used on it?

As a matter of fact, I was experimenting with this approach to the dulcimer only a few days ago...and, yes, it works very well. And, yes, I will be putting up some crosspicking dulcimer lessons on our website...here's our current listing of dulcimer lessons:

http://www.folkofthewood.com/page3.htm

All of the crosspicking patterns I developed on mandolin and guitar apply directly to the dulcimer...

Mickey

Thanks, Ed Bettinger

Date: Mon, 26 Jan 2004 17:48:29 -0800
Subject: crosspicking

Hello Mickey,
My name is Jimmy and I am new to classical mandolin. I have a question regarding the up and down pick alternating when you play eighth notes. It was my understanding that when you play a quarter note you use a downstroke and when you play an eighth note you play an up stroke. What is the reasoning for playing two up strokes in some of the eighth note patterns that you play?
Jimmy

Greetings Jimmy,

Glad to assist...

The Up and Down formula, which requires playing a downstroke on the first note of an eighth note pair, while the second with an upstroke, applies to linear flatpicking...usually common in a bluegrass context...even within this context, there are rare occasions where an upstroke is followed by another upstroke for rhythmic purposes...and to ensure that a downstroke pattern will still fall on the downbeat...this is where the meter of a measure is uncommon without the standard down and up beats of a 4/4 time signature.

Now, in crosspicking, there is an entirely different consideration...you're no longer playing the standard linear lead lines...you will be playing arpeggios in a roll pattern...this roll pattern can be varied with the down and up strokes so that the dynamics change to fit the melody pattern...crosspicking has many fill-type notes that help support the melody harmonically...these fill-type notes do not call for emphasis such as the melody itself would...therefore, a downstroke on the melody, followed by two upstrokes on the fill notes, differentiates the melody from the harmony notes...this is only one example of why these patterns work effectively in a crosspicking context...other reasons include the simple fact that there is some speed considerations, rhythmic essence of the tune is established with these double upstrokes, and so on...

Hopefully, something here helps...Mickey

S

ubject: Crosspicking
Date: Tue, 4 Nov 2003 20:14:38 -0200

Hello,
I saw your article about crosspicking technique and it is very interesting. I don't know very well how to read tablature. Is that possible to find it in regular music notation? I am looking forward to hear from you. Thanks. 
Paulo S&Mac189; 

Greetings Paulo,

Crosspicking almost requires to be written in tablature...since it's pattern dependent, learning crosspicking from tablature is quite a bit easier than standard notation. Crosspicking falls heavily on chordal arpeggios that change positions constantly up and down the neck. These positions can be difficult to determine when reading standard notation...on tab, you can literally see the position visually on the music staff itself...I would have to say that it would be far less time consuming to learn to read tablature than attempt to learn a crosspicking piece by standard notation.

Here's our lessons on learning to read tab for mandolin: http://www.folkofthewood.com/page129.htm

Here's our lessons on learning to read tab for guitar: http://www.folkofthewood.com/page130.htm

Hope this helps...and be sure to let me know if I can personally assist you further with learning to read tablature.

Keep on Pickin', Mickey

Subject: crosspicking
Date: Sun, 1 Jun 2003 19:18:04 -0500

FoTW
I purchased a Kentucky 380 from Folk of the Wood. I am very pleased with it. I have been playing for less than a year. I feel that I am progressing well but not sure of the direction I want to go. I have the crosspicking book, but as a beginner I am finding it hard to get very far without hearing a crosspicking example. I have repeatedly attempted to download video samplers without any success.
Would it be possible to get an sample of a crosspicking example from the book? I am in the line of people waiting for the companion cd.
Thanks
David Lloyd

Greetings David,

Thanks for your continued interest in learning crosspicking techniques. Yes, there are plenty of samples of crosspicking mando on our website; it's unfotunate that you're unable to tap into this resource. (hopefully, you've tried downloading the latest Quicktime Player...linked from each webiste).

We have a mandolin video titled: "Intro to the Mandolin" which does touch on crosspicking along with many other styles and approaches to playing mandolin.

http://www.folkofthewood.com/page2295.htm

Date: Sun, 5 Aug 2001 11:25:35 -0600
To: "ANDREW PALMER"
Subject: Crosspicking Technique

Mickey,

I'm very interested in your crosspicking book -

Am I right in thinking that crosspicking is based mainly around chord shapes & inversions (soloing around chords) as apposed to scales/standard flatpicking ? - (I prefer this approach , as playing music primarily based around scales (single string lines) is too much like playing an lead electric guitar to me - which I don't like!)

Also, I imagine if you wanted to - you could play crosspicking, fingerstyle couldn't you? There are no rules written in stone to all this is there?

Let me know what you think

Best regards
Steve

Greetings Steve,

Yes, crosspicking is mostly based on chords and arpeggios...keep in mind, these chords are usually unique inversions not normally played as common chords. The reason would be due to the melody dictating what harmonies need to ride on top or bottom.

You'll find crosspicking to be a great solo approach to mandolin. The instrument will stand on its own completely since harmonies are always be played while the melody is supported. I agree with you, linear playing, such as is normally done on both guitar and mandolin, in scalar fashion, can lose its appeal...with even a little variation of crosspicking applied, scalar playing can become far more interesting.

When I fingerpick both mandolin or guitar, I do apply many of the exact same patterns as I have with crosspicking with a flatpick. No rules have been written to date of which I'm aware. The only limitations I've witnessed are the ones imposed by a few traditionalists who frown on unorthodox playing styles. Even so, I have nothing but respect for the purists that want to keep certain styles of music from going extinct.

Your estimations are all correct.

I've posted your questions on our new "Forums" section. Be sure to check it out and continue this thread for many others to learn from. Mickey

Date: Thu, 12 Jul 2001 00:07:30 -0400
From: Laura Selden
Subject: Crosspicking Questions

Dear Laura,

Thanks again for your attentive efforts...we sincerely appreciate your taking a stand for us on COMando. If I can ever return the favor in some way, let me know.

Well I have been lusting after the sound of a mandola and, more recently, an octave mandolin...LOL. I just received a new A-model from Bill Bussman a few weeks ago. (It's a good 'un, too!) I think I'll try to build my next instrument....

Well, you just let me know when and if you're ready for a mandola or an octave...I'd be glad to assist you in any way and will even grant a further discount than what we currently offer. I've recently finished the only instructional video on Octave Mando in existence: "An Intro to the Octave Mandolin" (great for the tab impaired)...because of your assistance and support on COMando, I'd be more than glad to send you a complimentary tape. (just me your address) And, if you wouldn't mind, maybe you could give a short review of it on COMando (not required though...but no doubt, a great help to me since it had just been released).

I believe I'm a rumor in my own time. I do write for Mel Bay publications: both guitar and mandolin..."Mandolin Crosspicking Technique" is one of my titles...I also write for Mandolin Cafe...their crosspicking section...

THAT'S IT!!! I knew I had seen your name somewhere--at the top of all those crosspicking lessons that I downloaded. I had good intentions, but I am tablature--and even more so--practice-impaired.

What do you think of use of the Shuffler crosspicking algorithm of DDU for crosspicking the mando--as opposed to the McReynolds one (I think it is UUD?)?

I know there's been a lot of controversy regarding the perfect crosspicking pattern...truly though, the upshot would be what works for what player during what passage is completely subjective. I truly believe that what I call "Crosspicking Independence" is far more contributory to your technique than just following one pattern. With independence in pattern choices, you have so much more to fall back on and so many more ways to create textured arpeggios for both melody and back-up. I love the possibilities that lay before me when I flatpick a chordal passage and am not locked into any one pattern.

One day I was listening to sound bites of the different octave mandolins on your site, and I thought that the imports (Johnson/Trinity College--they are the same, aren't they?) sounded as good or better than a lot of the more expensive ones. I think I listened to a Weber and a Mid-Mo, too. How do you think these compare tone and construction -wise? (BTW, there was some really nice picking in them thar samples....)

In construction, the Weber beats them all...they are built solid from the word go! Now, for price value, the Johnson and Trinity College can't be beat...they're constructed with solid woods and both offer decent tonal quality and ease of playability. The Mid-Mo does make a mandola that again, is probably the best US-Made value today...but, they are more delicate than the Webers in construction. This can be contributory to a lighter more responsive tone though...

Since I am gearing up for a new hobby (lutherie!), I am interested in what you as a player have to say regarding tone, construction, etc. Recently, I read Lawrence Smart's article about mando construction in a back issue of _American Lutherie_, and he mentions that he has had people commission instruments that could be tuned as both an mandola AND an octave mandolin. Do you think the scale length required for this would make the instrument extremely hard to finger? I am muscularly weak due to a physical problem, so this part really concerns me.

That truly sounds impossible...Lawrence sure must be "Smart" to have achieved this...to tune an Octave up to a Mandola would put too much stress on the neck (the scale length being inversely proportionate to the tautness/pitch ratio)...now, tuning a Mandola to an Octave, if the Mandola is the average Mandola size, you'll encounter nothing but rattle...

I've been thinking that koa or one of its closely related cousins would make good back/side wood for a mandola or octave mandolin. I've been toying with the idea of trying to build one of these with koa b/s and a redwood top. (This would be a future project, of course<g>. Koa ain't cheap.) What do you think of the koa/redwood combination?

I'm not too sure...I suspect you'll attain a lot of mellowness...and certainly, the instrument would have a warm tone...let me know how it goes.

Sincerely, Mickey