As it happens, in the years since the Austin City Limits performance, Eric released a pair of successful instructional videos through Hot Licks — Total Guitar, and The Fine Art of Guitar. Apart from Steve Vai or Joe Satriani, Eric was among perhaps the most mass-market names in virtuoso guitar. And so these videos became instant best- sellers on the instructional shelves of music stores everywhere.
In a widely disseminated passage on Total Guitar, Eric discusses his approach to picking technique. And despite his renown as a paragon of speed and fluidity, he begins, ironically, with a description of his use of stringhopping:
“One technique that’s very essential to me, playing with a pick, is what I call the ‘bounce’ technique. It’s where, actually, it improves the tone, I think. It’s achieved by the correct up and downstrokes, rather than playing side-by-side. It’s a question of… You’re actually going from the pickguard up [imitates angled picking motion]. So you’re brushing the string. And the idea of the bounce comes in when you’re playing fast [plays the fives sequence].”
In one nearly impenetrable paragraph, Eric manages to conflate just about every fundamental technique in picking mechanics into one mega-concept, where stringhopping (“the bounce”) equals downward pickslanting (“from the pickguard up”) equals edge picking (“it improves the tone… brushing the string”) equals high-speed string- switching efficiency (“comes in when you’re playing fast”).
Of course none of this was strictly logical — edge picking had nothing to do with downward pickslanting. They were two different pick angles. Edge picking altered the part of the pick that contacted the string, to promote smoother sliding over the string during the pickstroke, and also for tonal control. And pickslanting changed the trajectory of the pickstroke itself, causing it to move out of the plane of the strings — “from the pickguard up”, as Eric correctly put it.
And most paradoxically of all, the bounce technique didn’t “come in when you’re playing fast” — it was actually the exact opposite of that. It went away when he was playing fast. And the lick he played to demonstrate this — the familiar fives sequence — was nothing if not a perfect example of exactly this disappearance in action.
But, in a weird way, things were also starting to make sense. What was the difference between the obvious stringhopping of the “bounce” technique, and the hyper efficiency of sweeping, in Eric’s playing? Well come to think of it, I had never actually heard Eric use the term “sweeping”, or “economy picking”, or anything similar. Not in interviews, or on either of these quite extensive instructional videos, for that matter. Maybe what he was really telling us here is that there was no difference in his mind between the various ways he moved from one string to another.
In fact, for all I knew, Eric might not have even been aware he was using sweeping at all. As far as Eric was concerned, it may very well be that he thinks he’s always using repeated pickstrokes, and doesn’t realize that his trademark light-speed fluidity is attained precisely by eliminating them. This is really the only reason I could think of to explain why anyone would even try to maintain stringhopping at breakneck soloing speeds — especially when the alternative was not only easier, but something you were practically already doing in the first place.
Between the chunks, turnarounds, shifts, cascades, and more, we’ve built an entire arsenal of Eric-style weaponry. Let’s see how many of them we can squeeze into one passage:
Ok that was more like three or four passages. But still. It’s remarkable how much of Eric’s persona we can evoke with a few core techniques, and no more than a couple of his stock phrases. And this is not a knock on his creativity. It’s the proof of it. When a thing can be distilled to the sparest collection of its parts, and still be instantly recognizable, that tells you something. Think of Yngwie’s arpeggios. Or Eddie’s tapping. Or for that matter, think of Michael Jackson’s white glove, and Elvis’ sideburns. If the most influential voices throughout musical history have always been so easily imitated, it’s only because of their incredible uniqueness.
We can recall Jimi Hendrix’s musical persona so vividly with nothing more than the first six notes of the Star Spangled Banner. And we can recall Eric’s ethereal soundscapes with one thunderous open E-string. But it doesn’t mean he had only that little to say to us. It simply means that embedded within that one characterful note, like a kind of musical DNA, was the complete power of his creativity. And that’s pretty amazing.
And this was a rather amazing possibility. Even Yngwie, who is famously unconcerned with micromanaging the details of his picking technique, acknowledges that he uses a combination of alternate picking and sweeping to power his more intricate playing. But watching the nearly seamless transition from repeated pickstrokes to sweeping happen right there on the Austin City Limits tape — it was almost like watching dinosaurs learn how to fly. Early feathered lizards may have jumped off trees or cliffs to get airborne. At some point, generations later, they abandoned the concept of launching altogether and just began flapping right off the ground. If the bounce technique was the launch, then sweeping was the flap.
For all the agglomeration of concepts in the now-famous Total Guitar “bounce technique” scene, it is amazing that all the key ingredients were indeed right there. Inscrutable as it may have seemed to a generation of guitarists trying to parse his phrasing, here we had an elite player, on videotape, actually describing his use of downward pickslanting and the power of the upstroke string change.
As if this weren’t enough, on The Fine Art of Guitar, he went even further:
“The type of picking I like to do is where you pick up, away from the pickguard. Now with this technique, I’ve been trying to add… usually my style was to pick up, as you can see here, with the side of the pick, right here picking up [plays exaggerated dwps upstroke], and then I would follow that with any downstrokes, just typical downstrokes that go straight across sideways. So that the kind of, a new version I’m trying to do is to where I can do a mirror image downstroke of the upstroke. So the upstroke picks up, and the downstroke picks up with the opposite side of the pick. This is a technique I’m trying to work on right now so that I can free myself to use either an up or downstroke depending on the passage.”
So let’s get this straight. His picking style, which he reminds us he has already described in the first video, is where he picks up, away from the pickguard. Yes, precisely — downward pickslanting. But he’s currently not free to use any old sequence of downstrokes and upstrokes, because his upstrokes go up, you see, and his downstrokes go sideways. Well, they really don’t — they’re downward pickslanting downstrokes, angled the same way as his upstrokes, just moving in the opposite direction. But we know what he means — he means they’re buried in the strings.
But if he could make his downstrokes be like his upstrokes, so that they also went up, just in the opposite direction, then he could free himself from having to… to do what? To only switch strings after upstrokes, of course. If he could just figure out how to make those downstrokes not go what he perceives as sideways, then his downstrokes could also, just like his upstrokes, break free from the plane of the strings. And if he could do that, well, then he’d have figured out something he knows would be incredibly powerful and liberating: two-way pickslanting.
Amazing. Here Eric is describing, in roundabout fashion but in unmistakable detail, the central limitation of any one-way pickslanting strategy, as well as its actual solution. He plays a demonstration of what two-way pickslanting might look like, with wide swinging downstrokes and wide swinging upstrokes that are essentially, stringhopping. This broadly mirrors the brute-force attempt that most players make when trying to solve this problem. So in other words, this isn’t going to work. And he knows it, because he then notes, again precisely, that he’s still working on the technique and that it’s not yet ready for prime time. You can practically see the gears turning. He’s not sure how to make it work, but he can tell that the swinging approach is not it.
And that is the difference between genius and the rest of us. Eric got it — all of it — including the technique he had, and the technique he had yet to find. Had either of these two passages been stated with just a bit more clarity, the entire enterprise of picking technique could have been revolutionized in 1989.
Skip Fives
So that was it. The bounce technique was stringhopping, and it was a convenient solution for certain kinds of medium-speed playing. Eric’s formula for using it, broadly, was downstrokes when ascending across the strings, and upstrokes when descending. This is actually a strategy that is used by many players — perhaps most famously by Al Di Meola, who also employs it in arpeggiated contexts where bluegrass players might instead choose a two-way pickslanting alternate picked strategy.
But Eric’s solution was also idiosyncratic and sometimes employed alternate picked stringhopping passages when multiple notes occurred on a single string. That there was any system of rules for this at all was kind of amazing, considering how clearly subsconscious the whole enterprise was for him. For my purposes, it didn’t really matter what the exact sequence of pickstrokes happened to be. If I was forced to use stringhopping at all, I was happy to do so with alternate picking for whatever boost in efficiency that may have provided.
Neither of these solutions were truly efficient. And that’s why, whenever he started playing fast, the bounce morphed into sweeping — even if he wasn’t aware of it. And that made sense, because bouncing all over the place simply wasn’t efficient. But after poking around some more on the Austin City Limits tape, I discovered that there was at least one situation in Eric’s higher speed playing where the bounce technique actually didn’t go away at all:
Here’s an interesting lick that occurs in the Austin City Limits performance. And what’s interesting about it is that I originally thought it was a whole different lick. I assumed it was the six-note pentatonic chunk, and was just about to hit the fast-forward button, when I looked a little more closely. And there was the surprise: one of the notes, the last one, was simply missing. This lick was actually a repeating unit of fives. In fact, it was just like the ubiquitous sequential version of fives, but with a string skip in the middle.
The last pickstroke of the sequence was a downstroke, and that ownstroke simply hopped over the middle string to begin the pattern again on the same pickstroke.
If the repetition of that fifth pickstroke had seemed so superfluous in the standard incarnation of the fives sequence, it was far less so here. In classic fives, a single sweep was clearly the optimal solution, and Eric himself chose it at higher speeds, even if he was potentially unaware of doing so. But this lick was a different animal. There was a string in between, and there was simply no other way to get over it. Choosing pure alternate picking would flip the picking structure so that the next repetition started on an upstroke. And this could only lead back to the stringhopping inefficiency of my first attempts. Choosing sweeping would slam the pick through the intervening string. Even if it was muted, that didn’t sound like what I was hearing here. It seemed like the only remaining solution, implausible as it sounded, was to jump it.
But how do you do that at these kind of speeds? Or better yet, are we really sure that’s what he was doing? Whether or not he was actually clearing that middle string in its entirety was hard to tell. I thought I could hear a small amount of noise on at least one of the repetitions, but it was slight enough that it could have come from anywhere.
Rest Stroke Fives
One possibility was that Eric was using a rest stroke, which is what happens when the pick uses the next higher string as a brake. In a rest stroke, the pick hits the next string forcefully, coming to an immediate halt, but not actually playing it. This makes no sound — or so little sound that it’s negligible. The rest stroke would kill the previous downstroke, but you wouldn’t have to use any force to do it. You could instead just focus all your energy on the next downstroke. This is like the way drummers use drumhead rebound to take care of the ascending portion of the stick hit, so they only have to supply energy to force the stick back down again.
The rest stroke technique works surprisingly well, and is possibly the fastest fully-picked method for playing the skip fives lick. Although the pick makes contact with the “rest” string, it doesn’t actually play it, and doesn’t make any substantial amount of sound when doing so. On a high-gain amp, simply rest stroking against a string will produce a very small amount of pick / string contact noise. But during actual playing, this is masked by the surrounding played notes, and completely inaudible.
More importantly, because the rest stroke stops the pick, the next downstroke lifts over the top of the string, and doesn’t actually play it. Even at elevated speeds, where the rest stroke may tend to slide rather than lift, it still shouldn’t slide forcefully enough to trigger an actual plucking of the note.
If the rest stroke does pluck the rest string, you’ve crossed the line into “sweeping through a muted string”. This is a technique that can work, but it does produce actual unwanted sound, and the challenge of doing this is to get so little of it that it is masked by the surrounding notes. With this method, the sweep pickstroke feels like one continuous downstroke that happens to push through a string on its way to the target.
By contrast, the challenge of the rest stroke technique, is to maintain some feeling of distinct downstrokes, even at really high speed. This is tricky to get it right: it requires a looseness in the forearm so that the second downstrokes feels like a bounce that lifts over the middle string. Ironically, this only works if you deliberately and solidly hit the middle string on the first downstroke. The more you try to avoid doing that, the more the technique wants to simply slide over the top of that middle string, which again, eventually becomes muted sweeping — a totally different sound and feel.
Legato Fives
But if it wasn’t a rest stroke, it was also possible he was slightly grazing the top of the string as he passed over it. It’s amazing how good the camerawork on Austin City Limits was. At least one camera always seemed to be glued to Eric’s right hand action, and this is more than you can say for many guitar instructional videos. Clearly, the guys in Austin knew how to film guitar players. Being Texas, this probably should not have been surprising.
And upon closer inspection, something else amazing became apparent. It really looked like, in at least some instances, the fifth note wasn’t being picked at all. In other words, four picked notes and one hammer — a “hammer from nowhere”, as it is sometimes called. It was unclear whether or not this was intentional, or simply the final stage of the evolution of the bounce. What began as an obvious hop became smoother and smoother until it simply evaporated altogether, and the lick reverted to its ultimate form of efficiency: pure downward pickslanting, even numbers of notes per string, switching after upstrokes.
Despite the camera tracking, the footage really wasn’t close enough to tell if this is indeed what was happening. But practicing the textbook version of the pattern, with the bounce intact, I could do the skip fives lick relatively quickly, though not as seamlessly as either the alternate picked sextuplets or swept fives licks. If that meant that there was a tiny pause before the pattern started over, so be it. The pause would be so small as to be almost unnoticeable. And Eric’s playing was mostly free-time anyway.
What was really interesting is that I was now starting to see the bounce technique the same way Eric did. In a certain kind of Johnsonian alternate reality, as strange as it sounds, the bounce almost was a hybrid between repeated pickstrokes and sweeping. At the one extreme it was a discrete bounce — two totally separate picking movements. And at the other, it was a single unbroken sweep from one string to another. Somewhere in between those points was the skip fives lick — one movement, but with the smallest pause in the middle, almost like a rock skipping on the surface a pond.
I started creating other ideas that utilized the punctuated sweep of the bounce technique:
In highly orchestrated dwps arpeggiated sequences like this, the utility of the bounce is precisely to maintain the pick structure of the surrounding notes undisturbed while still (for the most part) clearing the obstacles in the way. In this respect it does a paradoxically good job.
