I have another etude here,
crosspicking etude number two.
It's gonna delve in a little bit deeper
with some of the possibilities of
the crosspicking approach.
Especially as it deals with kind of
delivering melody within the crosspicking
style crosspicking approach here.
This is really along the lines of what
George Shuffler would have
done back in the Stanley Brothers back in
He was known for, his style of
And what we're gonna, sort of, look at
both ways to do it.
Instead of an alternating picking style,
George would play.
And it, it all has to do with how you
emphasize the melody.
That's what we're get into here.
Two downstrokes in a row.
So like that first measure.
So, you know,
we've talked about everything around the
site with the alternating picking up and
down with crosspicking you can do either
And sometimes the the traditional way of,
of down, up, down, up,
down, up is is a little more straight
You can hear, I'll show you the difference
in the power of what George was able to do
by, by incorporating a little
more of this sort of double down stroke
that it's considered.
So I wanna play this exercise here at 65
beats a minute and
then we'll talk about it.
One, two, and three.
All right, there's a lot going on.
The possibilities I could mention with the
But also kind of moving the,
the hammer-ons within crosspicking to kind
of another level for emphasis.
So what we talked,
I'll dive in here with the concept of the
There's a lot of questions, a lot of time
where players about to do the double down
sort of stroke versus the the alternating
I, you know, I like both.
I'll show you the difference as, as a pure
alternating down up down up.
It sounds like this.
The first little measure.
You know, it rings nicely,
it's good and smooth.
The, the double down sort of thing adds a
little bit more sort of meat and
power to it.
It sound like this.
it's like you're sort of reestablishing
that thing more.
It's more, it's more about kinda
again like in like a reestablishment of,
of these downbeats ver,
versus more of a smoother, across the bar
kind of, kind of a sense.
Again, you know, just to take that first
Is the basic idea with a,
with an alternating stroke.
Here with the double down it's like this.
wanna isolate it you can just play that.
And it's basically two downstrokes.
If you hear that, that,
when the pure alternating thing, again it
just, it rings, it carries.
It sustains a little more.
That extra downstroke kinda just,
it creates an effect.
So, and I wanted to kind,
sorta bring that up here in the, you know,
bluegrass guitar curriculum we,
we can't leave out George Stuffler and his
contribution to crosspicking.
And so this is a little etude, sort of
built on kind of a bluesy
hymn kind of melody that, that he was
When he was active with the Stanley
A couple other things I'll bring up here
as far as fretting hand kind of ideas.
Up to this point we've kinda looked at
pull-offs with crosspicking, as it relates
to the consistent eighth-note.
Here we've got some sixteenth-notes, and
so the hammer-ons, and the slides, and
the pull offs all kinda are a little more
compressed inside the roll.
So instead of.
You'll have this kind of sound.
you'll see that down there in bar six and
in bar seven.
And then I'm back to the standard eighth
note pull off, into into bar eight.
And there's a slide using the same bit of,
you know, rhythmic concept.
But it sort of, again,
further it kind of stamps home this idea
of like with the with the shuffler style
of this sort of re-attack with these
double down strokes.
Sounds like this with those hammer-ons.
it's kind of a cool sound you know it's.
It's a little meaner, a little, a little,
more forceful than, than just the standard
down, up, down, up, kind of a thing.
So, it's a, it's a, good thing to cover.
As the exercise kinda climbs through the
rest of it, sort of a repeat,
you kinda, kinda first part, and then a
second part that,
that works its way to an ending that
sounds like this from the bar 13.
And this sort of gets real bluesy.
that's a real challenge there but again I
want, I want you guys to commit to a.
The thing about crosspicking is, is that
sustained roll effect
you know no matter if it's more the
Shuffler sort of approach or the, or
the consistent down and up it's still
about the consistency of that roll.
From, again from bar 13.
So you can kind of hear that you know,
the sort of the bluesy aspect of bluegrass
in those kind of notes and
that kind of phrasing.
And, and, and it's, a lot of it has,
with what the blues kind of aspect is how
those notes kind of rub together and, and.
When your crosspicking is more dis-,
you'll get more of that kind of effect.
Like in bar 14.
There's a real,
real mountain-y sort of sound in the
And here's another one.
Can really here a,
you know a lotta that Stanley Brothers
kind of sound.
That real lonesome, mournful high lonesome
sound so it's a good crosspicking etude.
Again, when every time you play this think
about George Shuffler.
And I know he's, he's somewhere loving it.
So, good luck with this and I'll look
forward to hearing,
hearing how you guys do this so good luck.