---

Subject: 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

---

Date: Wed, 30 Jan 2002 01:29:02 EST
Subject: definition of crosspicking

1 question--what isit?

Greetings,

Crosspicking: A Definition:

Crosspicking is an approach that utilizes a flatpick medium on mandolin or guitar.

With this approach, the flatpick plays a succession of notes without repeating the same string twice. It can be compared to banjo playing in that usually crosspicking involves rolls. For instance, on guitar you would play a crosspicking forward roll by playing the "G" String followed by the "B" and "E" Strings directly. Now, normally you would have a chord fretted giving this pattern its own harmonious ring...

Now, you can also say that playing an arpeggio with a flatpick could be considered crosspicking...this is true to a degree...although, the term "crosspicking" itself denotes an approach commonly seen in Bluegrass as played by both guitar and mandolin. And, even the character of crosspicking is exemplified by a rolling sound which gives it its unique drive...the drive being an essential component of Bluegrass music. Ultimately, crosspicking can be used effectively in any style of music and can also be an effective form of backup embellishments.

Be aware, some of our video samplers on our website do demonstrate crosspicking technique...try out the following URL for "Alabama Jubilee" crosspicking style:

http://www.folkofthewood.com/page1849.htm


Here's an excerpt from my "Guitar Crosspicking Technique" book:

"With applied crosspicking technique, the guitar (or mandolin) becomes a forceful solo instrument capable of filling a room with colorfully supported melodies. Crosspicking bombards the listener with a barrage of notes. As is similar to Bluegrass banjo, crosspicking guitar 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.

The guitar, as one of the most versatile instruments in existence, has immersed triumphantly in many genres including: classical, rock, country, bluegrass, jazz, and new age music. No matter what style of music you enjoy playing, learning the many applicable possibilities of crosspicking will enhance your musical creativity. There are no limitations on how or where crosspicking can be applied. It's truly one approach to the guitar that can be adapted to any style of music.

This is a methodology book, which includes a songbook section, designed for the intermediate to advanced guitarist. It will offer you, as a guitar player, a new voice. Or, if you're already crosspicking, many new ideas can be added to your arsenal. Within the methodology chapters, each song includes a preparatory study that allows you the opportunity to gain a solid footing before attempting the piece itself. These studies can be applied in other areas as backup ideas, song ideas or takeoffs for improvisation. So, don't think of them only as exercises. Be creative and experimental. Upon completing the methodology section, this book also includes a full songbook section giving you an even wider repertoire to pursue."

---

Date: Wed, 17 Oct 2001 00:52:30 -0600
Subject: Re: Fwd: Guitar Crosspicking book FAQs

Hi, I would like to be notified when the Guitar crosspicking book
becomes available either by email or phone if possible.

Second - I have a question : I have used crosspicking for a number of
years, about 95% of it is forward roll.

I use the George Shuffler technique ie: D D U D D U D U . I can use
alternating pick strokes as most of your free lessons indicate, but I cannot sustain the same speed as with the
Shuffler method. I also don't have problems accenting the correct notes with Shuffler's method. Also on
a backward roll you use a D U U... pattern - I tend to use D U D U ...

My question is do you have any comments about the pros and cons of the different techniques.

Thanks Joe Yudichak

Greetings Joe,

I truly believe that having complete pick direction independence is the ultimate achievement within any crosspicking idioms...

I try to orient the pick direction to best benefit the song...it seems every song has its own character that guides the pick direction based on where the melody falls and what best fits the accents that delineate the melody.

The Shuffler technique seems to work best when you want a true banjo roll effect. I've found the D U D U to work within most 4/4 tunes, when a roll effect is not the goal, and as long as you allow the pattern to change to fit where the melody wanders...again, independent patterns being the ultimate goal.

Most all of what we've been discussing is subjective...so, please feel free to experiment and pursue what works best for you.

Please contact Mel Bay about the #97177 book's release date. I've been waiting now for over a year...if we can get them to realize the demand, maybe they'll press it. Thanks for your avid interest in this book's release.

Keep on pickin',

Mickey