Discussion in 'Playing and Technique' started by ninjaaron, Dec 28, 2017.
No, it doesn't. It's so easy a drummer could do it.
Yes. I am just really slow. I said I was horrified in the OP, didn't I? I haven't really needed fast picking for what I play, aside from some tremolo picking. (obviously I can do tremolo picking much faster than 100 BMP, but the tempo isn't consistent.)
15 minutes per day is not a lot of time, what about at least half hour after you warm up your hands? takes years to build speed with alternate picking, i mean to be able to play 16 notes at 140 is a thing, another is 160, another at 180 and another is break the 200 pbm wall. The best advice i can give you is to study with speed burst which is what i learnt in conservatory and what all the flamenco players does. example, your limit is 100? set your metronome at 112 play 3/4 at 2 notes per beat and 1/4 at 4 notes per beat, you can apply this concept at everything, exist other kind of burst but this is the most used and it really work. I bet in a month you will be able to play at 120 without burst. Obviously, as you increase the speed it takes more time to build your muscle memory. 8 )
15 minutes is just for alternate picking. I practice songs and riffs in addition to that. I probably practice somewhere between 30 minutes and two hours most days, depending.
I don't think I understand. I thought 3/4 was the time-signature or something, but that doesn't make sense with 1/4. I don't get it.
 Read some articles and watched a video. I understand what you meant now.
ok, good.. 4/4 is the time signature, 3/4 is for 3 bar of 4.. there are lots of speed burst, a good one is this, take a major or minor scale, it doesn't really matter, let's say C major, play all the scale at 2 note per beat, then again half scale at 2 note per beat and then when you achieve the higher C, come back to the tonic with the burst.. exist many different kind of burst another is this to play 4 notes at 2 note per beat and then 4 notes at 4 notes per beat. Same concept for triplets or any kind of rhythm.
Ok, just checking.
If you wanna do a quick Skype with me I can show you some stuff. Up to you. You can probably use someone who can play really fast to see exactly what you are doing to make sure your actual physical technique is good and that you understand how to group your notes and picking together to go as fast as you'd like to go.
Tapping. Check out Erlend Krauser. He's a wonderful no-pick player. you can get a lot of mileage out of tapping.
I found that alternate Picking one single note cleanly and in time and with no tension is the key to playing very fast accurately. When you break down and isolate what really makes a player play fast, its being able to pick a single note precisely. A lot of players try to play fast before they get this import part down. I was one of them and once I got this down, my picking progress increased rapidly.
This is actually exactly the strategy I'm using right now. Just keeping it smooth on a single note or doing bass notes from a chord progression (chords change slowly, but picking them as sixteenth notes)
Thanks! I appreciate the offer, but I'm sort of uncomfortable skyping with a stranger. Nothing against you personally. It's probably just my own neurosis.
I do really appreciate the offer, however!
Well that's all it is. You should tremolo pick a single note to a drum beat or (if you like to get bored quickly) a metronome. Set the pace slightly above your comfort zone and get that tremolo picking deadly locked into that beat, that will get your wrist working efficiently as well and always make sure you're relaxed, no tensing up the shoulder or anything. alternate from tremolo picking to normal alt. picking, that way you will start developing a lot of control in your picking cause the end game is to be musical with it and use it as a vehicle of expression, dynamics etc. Also when practicing try to vary you're picking strength, lighten up the picking and then intensify it. I really think within a few months you'll be where you want to be as it sounds like you're not far off already Bro.
Yeah, seems like it. just within the past week or so of practicing, I've gotten my speed up to around 120 -- for sixteenths on a single note or bass notes of a chord progression; still need to get my right and left synced up for runs, though that is also getting better.
My thought was that I sort of get those higher-tempo 16th subdivisions into my right hand (and, more importantly, into my brain) and then getting the left hand and string-changing patterns worked out after my timing is solid.
For me, this is actually as much about getting the subdivisions of the beat into my head as anything else, so I struggle less with syncopation (which is another thing I will have to practice separately, but I figure I can't syncopate before I have the flat subdivisions worked out).
Unfortunately, I'm not one of those people who was born with a properly functioning internal metronome, but it turns out that practice helps!
Dude, that's killer.
I would suggest trying different right hand postures. I get a LOT more speed with a little bend in the wrist (45 to 90 degrees) and using forearm rotation as the main driver. It's a little harder to control though.
If you watch players like Marshall Harrison or Darryl Gabel, they play at INSANE speeds without a ton of back and forth. Economy picking has a fifth gear alternate picking alone does not possess.
You are so right, i always ask my students to try with different right hand position and it's amazing how simply changing the position you can resolve the problem, had a guy who couldn't speed up to 120bpm, we tried few more position and it have been a work of 2 or 3 months but at the end he become very fast and accurate with his picking. A thing i do not agree is about economy picking because it moves the accent, in other words if you practice too much economy picking it may happen that your alternate picking technique get worst. It's a brain thing, the accent is what keep u in tempo
That isn't necessarily the case. You can move accents around but if you structure your licks the right way (and spend a bazillion hours practicing) you can make it happen. Eric Johnson, Yngwie Malmsteen, John McLaughlin... Lots more great examples out there.
That guy Troy Grady really educated me that most of these guys set up their licks so that they always change strings on a down stroke. Except for Eric Johnson of course... His picking thing is way too weird for me to bother with.
Eric's playing has a lot of that. The fives licks, the "cascades..." Downward pick slanting was a pretty big eye opener for me. My speed skyrocketed after I was able to beat the concept through my thick skull. Pretty incredible stuff.
I see what you are saying but he really doesn’t. He economy picks the 6th note on that 5s lick. It’s down-up down-up down-down. Zakk Wylde is a better example of 2 note alternate picking.
I’m glad I find it impossible to do those Eric Johnson licks. He owns that sound. No one should ever do them but him. Lol
Edited to say you aren’t “wrong”. Lots of ways to look at it if you include pick slanting. Which I do not do. Haha
probably i badly explained myself.. of course it is possible i was used to use that technique a lot in the past, the fact is that it need as you said lots of time and continue study of it if you want to apply at new things. For a student "normal talented" it can ruin in some way his alternate picking due to the accent