Re: Crosspicking vs "the Other Kind"
Comparing the two vids, note how much more fretting-hand movement there is in crosspicking. Since at least one, and often two, strings are being used as non-melody "drone" strings (which is not to say that they're not being fretted, to fit harmoniously in the chord, at least most of the time), the melody may played largely on only one string -- whereas in "flatpicking," the player moves to an adjacent string when the melody's pitch goes up or down. You learn some unusual fretting-hand positions and fingerings in crosspicking.
I've tried it, but really don't have the dexterity (or sinisterity, since we're talking about my left [fretting] hand) to do it well. I'll do some slow cross-picked arpeggios behind vocals, on occasion, but I'll leave the real stuff to Jesse McR and his disciples.
Jim & Jesse McReynolds with Larry Roll, Virginia Trio, early 1950's:
Allen Hopkins
Gibsn: '54 F5 3pt F2 A-N Custm K1 m'cello
Natl Triolian Dobro mando
Victoria b-back Merrill alumnm b-back
H-O mandolinetto
Stradolin Vega banjolin
Sobell'dola Washburn b-back'dola
Eastmn: 615'dola 805 m'cello
Flatiron 3K OM
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