Peter Buck's right hand

[fretbuzzard]

This was buried in a thread about the minutia of Peter Buck's gear choices on early/mid R.E.M. records and I thought it deserved its own thread. Dewitt Burton via John Hall:

Okay, here's the story directly from Dewitt Burton:

...Also, what folks don't realize is Peter has a completely original technique. Initially self-taught, Peter does not finger pick or flat pick his arpeggiated style. If you've ever been able to notice (and it's hard because of how he holds his hand and usually there is a sleeve in the way) his style is a constant up or down motion with his right hand -- no individual (or duos) of strings are plucked with his right hand. He has a *********** chording technique with his left hand. This method of playing is best described in musical jargon as a "rolled chord".

From Wikipedia: "A rolled chord is a sequence of notes played almost at the same time like strumming a chord on a guitar. They are mostly seen on piano, producing a harp-like effect. When a chord is too large for a pianists hand, the chord is expected to be rolled. An arpeggiated chord can be quite difficult to execute especially if spanning more than two octaves ... A rolled chord "unveils" the notes of the chord rather than stating them all at once, creating expectations or questions in the listener. The expectations can then be satisfied, or broken (surprised.) A rolled chord can also increase the number of notes per second in faster passages, creating a heightened sense of virtuosity or musical complexity."

Peter has since spent the the last 30 years learning a more conventional style of playing. But when the oldies come out, he reverts back to how he played them. When any of our sidemen have been asked to duplicate what Peter did on those older songs they are unable to do so. They have to transpose to a more conventional method and it never sounds "exactly" right.

Being way more interested in technique than gear, I was wondering if anyone else had any more information about this. I'm having trouble visualizing what exactly it is that Buck's right hand is up to, and my search for video has come up against the issues that Mr. Burton anticipated.

[Kees]

In my perception, 'a constant up or down motion with his right hand' just means that Buck creates these arpeggios with a single pick (his signature style) by hitting individual strings, using either an up- or downstroke (depending on whatever is more convenient), and often skipping one or two strings. You get a feel of how this works when you try to copy his guitar lines from the first four (and best) REM albums; it is not that hard to do, but you do need a strong rythmic and spatial coordination of the right hand.

Kees

[fretbuzzard]

That is what I had always presumed, but then how do we make sense of this:

...Peter does not finger pick or flat pick his arpeggiated style. ...no individual (or duos) of strings are plucked with his right hand.

[electrofaro]

Watch where PLB often plays: between the bridge pick-up and the bridge! No wonder he removed the bridge cover, it was in the way.
Playing there does have a significant effect on the sound as well, of course.

For 'Collapse into Now' "Oh My Heart" you can see him do it on an acoustic!

[Clint]

We used to call that "picking through the chord" I don't know what the proper term would be, rolled chord sounds about right. I don't see anything "completely original" or unique in Peter Buck's technique. He just zigs where most other guitar players zag.

[electrofaro]

Clint, Dewitt said PLB has been playing more "natural" since the first albums. For me it's rather where he plays the strings rather than how he moves his hand that matters.

[Folkie]

I haven't found that Peter's picking-style on those early R.E.M. records is that difficult to replicate with a flatpick. He does lots of rapid string-skipping and alternates upstrokes and downstrokes, but it only took me about a year to get used to his early style. "Pretty Persuasion" is the quintessential example. I learned that one on a Gibson J-35 acoustic strung with 13's. Although it only sounds right on a 12-string, the heavier string gauges on my acoustic gave the strings some necessary resistance which allowed me to build up speed while playing the circular arpeggios, for lack of a better term. I don't find Peter's playing style that mysterious. It's just that he was so inventive and was able to create deceptively complex picking patterns using simple open chord voicings and apreggios.

Robert

[fretbuzzard]

That's interesting, given Peter Buck's preference for heavy strings. My experience has been similar to yours, Robert: I have an easier time picking quickly with heavier strings (and a heavy pick).

[electrofaro]

Not being a great player myself, but I do also agree it's easier with heavy strings - got 12s on my acoustic, picking with .73 nylon Dunlops.