# Physicality and speed



## Lola

How much does one depend on the other.?

I am desperately trying to increase my speed. Nope, don’t want to be a shredder but I need to pull up my socks and get my ass in gear.

I want to busk downtown TO for the summer even if Europe doesn’t pan out. This has to improve.

I want to be Phoenix rising out of the ashes of COVID as my friend coined. 

I practice little pieces of a particular solo at slow speeds then put it all together in the context of the song and increase my speed accordingly.

I am trying practice scale runs and increase my speed as necessary. Just so not motivating. 

I take songs that I know perfectly and will increase the speed by 25 - 50 % to make my fingers and brain move quicker.

Open to whatever advice you can give me.
Thx


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## Hammerhands

You must have a light touch. You only have so much energy to use, and you want to use it for speed, not force.

When you practice for speed, go full out, stop when you get tired. If you don’t stop, you will not get faster, you just practice being slow.

Stop if it hurts.


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## Lola

What about mistakes? I can’t practice perfect if you know what I mean going full bore. Should I just throw caution to the wind and forget about them!


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## fretzel

How is your legato? Great way play faster with less effort, IMO. 

EVH had great legato. So does Richie Kotzen. Plenty of others but those 2 came to mind.


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## Paul M

A fast song is just a slow song speeded up. So you are already working on that. Remember, perfection is the enemy of good. _Nobody_ listening to a busker is going to care if you play a part using fuzz instead of overdrive, or play Bm7b5 (b13) instead of a G9. Your job as a busker is to provide a few moments of beauty and joy for folks walking by.


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## Lola

fretzel said:


> How is your legato? Great way play faster with less effort, IMO.
> 
> EVH had great legato. So does Richie Kotzen. Plenty of others but those 2 came to mind.


My legato needs improvement and I am working on that. I find that my pull off’s particularly are a little on the weak side just with my ring and baby finger. I need to keep tabs on my practice though. I am so dead set on improving. I have been over practicing and need to be mindful.

I am also thinking 2 nps or 3 nps. I need to stick to one only. Trying to diversify is not working for me. Just too much confusion.

thx for the teply


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## Lola

Paul M said:


> A fast song is just a slow song speeded up. So you are already working on that. Remember, perfection is the enemy of good. _Nobody_ listening to a busker is going to care if you play a part using fuzz instead of overdrive, or play Bm7b5 (b13) instead of a G9. Your job as a busker is to provide a few moments of beauty and joy for folks walking by.


I will crack though. Perfection is my goal and I cannot accept any less from myself. My OCD doesn’t take a holiday.My problem, I know.


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## Hammerhands

Lola said:


> What about mistakes? I can’t practice perfect if you know what I mean going full bore. Should I just throw caution to the wind and forget about them!


I think full out is as fast as you can go without mistakes, and try to get a little faster.


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## Lola

For example if I want to practice scales which is more advantageous to learn 2 or 3 nps? I will learn one way and stick to it for speed improvement. I am basically a 2 nps person when I review how I play in my mind. Idk if 3 strings will make a difference make playing economically they would idk.


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## Budda

Which do you plan to use? Work on that one.


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## bw66

"Practice makes permanent, perfect practice makes perfect."

Practice at the speed where you can play perfectly every time, then speed it up 1-4% and practice at that speed until you can play it perfectly every time. Repeat as necessary. Ideally, you want to be able to play it about 4% faster than you intend to perform it. For busking, you need about 3 songs.


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## Paul M

Lola said:


> I will crack though. Perfection is my goal and I cannot accept any less from myself. My OCD doesn’t take a holiday.My problem, I know.


Define "perfect" as it applies to music. _Every _musician listens to playback of their recordings and cringes. Eventually you just have to let the music go. Let the music be free, be heard, be enjoyed.

Sgt. Pepper is not perfect. Electric Ladyland is not perfect. Lady Gaga singing the anthem at the inauguration the other day was not perfect, but it damn straight brought tears to my eyes.

One of the best descriptions of music I've heard is "Art is how we decorate space. Music is how we decorate time." The beauty of that when applied to live music, especially busking, is that the mistake exists only for an instant, and then is gone forever. The complete opposite of a misspelled tattoo. 

Perfection may be the goal, but less than perfection does not equal failure. The best hitter in baseball failed almost 60% of the time.


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## BlueRocker

I'm no expert, but I find a drum machine like a Beat Buddy or a metronone very helpful. Keeps me on pace so I don't speed up on the easy spots and slow down in the harder parts. And I'm getting older, so like any exercise a little stretching before hand and not over-doing it gives better results.


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## KapnKrunch

I don't shred either, but...

John Petrucci's DVD doubled my speed in a matter of weeks. Here's the whole thing. Find the particular speed lessons. Clear-cut, methodical exercises.


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## Brian Johnston

Snort some coke and watch out.


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## Lola

Does my picking action have the potential for high speeds I am wandering? Could I possibly be doing something small that’s holding me back?


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## Dorian2

Lola said:


> Does my picking action have the potential for high speeds I am wandering? Could I possibly be doing something small that’s holding me back?


That might depend on which picking technique you're using at any given time. If strictly alternate picking during a lead, and depending how the lead lays out on the neck, you may find yourself picking "outside" of 2 strings instead of "inside" the 2 strings. Just as one example. I've recently run into a part in a tune where if I pick on the down stroke before the next part, I'm screwed for getting a nice, clean, even run at speed. This is a Steve Morse tune though, so it doesn't apply the same across the board as far as what you're playing. 

"Minutiae of movement" and being as relaxed as possible are 2 important keys to getting to speed cleanly. But like others have mentioned, don't stress the mistakes when they come. Just keep going. 
One trick I use to get a good grip of where I'm at speed wise is to play as fast and clean as possible without a metronome. That'll give you your current, natural internal speed clock on guitar. Get a metronome going and tap out you're current natural fast speed that every note is perfect on. Increase the metronome from that speed 2 or 3 bpm faster to "push" your natural speed. Practice there till it becomes your "natural speed". Bump it up again to push that new natural speed. It should feel like you're just holding it perfectly together but can fly off the handle at any time. Another trick we've discussed before is playing a lead run perfectly to speed 5 times. If you mess up, start again at 1. Even if you messed up on the very last note the 5th time......


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## cboutilier

Lola said:


> Does my picking action have the potential for high speeds I am wandering? Could I possibly be doing something small that’s holding me back?


Pick angle/slant can factor into speed. 

One suggestion I would make, is to practice scale runs with 3 notes per string. That opens the doors to speed runs.


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## Budda

Look up ben eller on youtube


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## Grab n Go

I've struggled with technique on and off over the years and I think I have a handle on what works for me. I don't consider myself a shredder, but I do like to improvise.

The left hand often gets overlooked. @fretzel mentioned legato. Definitely work on legato for finger strength, independence and overall smoothness. The idea with legato is to connect all the notes so that there are fewer gaps or "daylight" in between notes. Tom Quayle and Luca Mantovanelli both have great legato courses. (Still working on many of their ideas and I still don't consider myself a legato player.)

I like working on legato first before picking. Having a warmed up left hand makes it so much easier.

3 notes per string patterns? For legato and economy picking, absolutely. Guys like Josh Meader and Jason Becker use 3 notes per string, but they only pick two notes and pull off the third. Makes it really smooth sounding.

Pentatonics: practice picking up-down when descending as well. It's good to be able to do both ways.

(CAGED patterns are also handy for arpeggios, improvising and pentatonics. But if you just wanna shred, then you probably don't want to hear about it. )

@Dorian2 mentioned picking inside and outside two adjacent strings. It's good to be comfortable with both. I actually favour picking inside two strings because I find it requires less effort. I still use this sequence as a warm-up; it uses the pattern 1-2, 3-4, 2-1, 4-3.

------------2--------4
-------1--------3-----

followed by:

-------1--------3-----
------------2---------4

You can also use 1-3, 2-4, 3-1, 4-2 or any other finger combination you can think of. Practice picking inside the two strings as well as outside. Play it on every pair of adjacent strings. Use 8th notes, triplets and 16th notes. It's more of a warm-up and synchronizing exercise than a speed thing. I don't go faster than 120bpm (or 60bpm, with click on beats 2 and 4). For bonus round, you can start string skipping. If you're doing 16th notes, you can also add a 16th note rest every 8 or 16 notes or so to throw the pattern off. This is great for getting used to picking in various places on the beat.

Steve Vai has a great chromatic string skipping exercise as well. I think it's in his 10hr workout from the old days.

You don't need every picking exercise under the sun. Just the ones that cover whatever you may need.

Metronome work is essential, obviously. Especially for songs and licks. Practice it perfectly slow and work your way up. There's no short cut to learning to play something clean and in time. Selecting the right fingering and way of picking is key. The idea is to be clean and relaxed. Brute force and tension won't work.

As @Hammerhands mentioned, working on left and right hand synchronization at top speeds, without a metronome, is totally legit. This is my fourth time posting this video, but I'll do it again:






In my opinion, Guthrie's grip is bulletproof. It's the most efficient way of alternate picking that I've encountered. Also, Dunlop Jazz 3 picks are my best friend.

There's more, but these are some of the things I still do to keep my chops up. I like Rick Beato's saying about technique practice being similar to polishing a faucet. What's most important is what comes out of that faucet (i.e. musical ideas).

Also, it's a journey. It's also not necessarily linear progress. It sometimes happens in fits and starts.


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## cboutilier

Grab n Go said:


> 3 notes per string patterns? For legato and economy picking, absolutely. Guys like Josh Meader and Jason Becker use 3 notes per strings, but they only pick two notes and pull off the third. Makes it really smooth sounding.


The masters of country guitar use this method, but will employ open strings as the third note whenever possible. I'm a big fan of hybrid picking as a speed booster, even if used sparingly to get the picking pattern back on track after skipping strings.


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## Analogman

Check out Kiko Loureiro’s YouTube channel, he has tonnes of great lessons.


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## Johnny Spune

Sounds like you are working hard at this. Good for you! Rock n roll girl!
Here’s what I do. Tense up my entire body, frown deeply and the key....turn the amp to 11. Then pick like a mofo until I’m exhausted. Eat three large bowls of sugar coated cereal, nap, repeat. 
After several decades I have improved marginally-and gone threw a ton of picks. I think I just need to switch cereals. Just my two cents. 
Rock on! 👍👍👍


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## Grab n Go

Johnny Spune said:


> Sounds like you are working hard at this. Good for you! Rock n roll girl!
> Here’s what I do. Tense up my entire body, frown deeply and the key....turn the amp to 11. Then pick like a mofo until I’m exhausted. Eat three large bowls of sugar coated cereal, nap, repeat.
> After several decades I have improved marginally-and gone threw a ton of picks. I think I just need to switch cereals. Just my two cents.
> Rock on!


"Go show 'em you're a tiger..."


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## laristotle




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## Lola

Now I have a slight problem, maybe not. My picking hand. My fingers are not curled in they hang sort of! I have always played this way. It’s super hard to correct. I am trying to every time I pick up my guitar.


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## Lola

cboutilier said:


> The masters of country guitar use this method, but will employ open strings as the third note whenever possible. I'm a big fan of hybrid picking as a speed booster, even if used sparingly to get the picking pattern back on track after skipping strings.


Hybrid picking is frustrating for me. Rock n roll ain’t noise pollution has hybrid picking in the intro. I still cannot play it up to speed. That is a real tough nut for me. I have to stop, think and then play. I have been practicing this hybrid picking technique for about a year off and on and it feels so unnatural to me. I know, it’s just a matter of time and practice. It may take a while until it clicks. Got to keep my head down.


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## KapnKrunch

Revolutionary idea. Stop being a copycat and do your own thing. 

"I can't play straight up and down. Absolutely the most difficult thing for me to do. I can play seven's and nine's all day, but I can't play straight up and down." -- _Frank_ _Zappa_


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## Sketchy Jeff

Lola said:


> What about mistakes?


If you practice mistakes you will get better at mistakes. Play as slow as you need to in order to play it right and then increase the speed gradually from there. 

I dunno that I've ever seen a busker and thought holy smokes that guy's really fast. To me it's interesting that your focus is on speed for busking in loud public places where I would think speed and detail would get lost in the background noise and crowd

j


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## fretzel

Never say never! LOL


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## fretzel

Back in high school I use to put this song on to jam along to. I didn't know all the parts perfectly but it had a good pace for helping build speed and stamina. I've included the original amd some guys covering so maybe you can see what's being played. 

In regards to hybrid picking, can you finger pick? Hybrid comes easier if you can in my opinion. 

Also, definitely work on economy picking. I had never heard of it until 10-15 years ago and I still have to work for it. If I only practiced like I use to I'm sure I would be much more proficient at it.


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## cboutilier

Lola said:


> Hybrid picking is frustrating for me. Rock n roll ain’t noise pollution has hybrid picking in the intro. I still cannot play it up to speed. That is a real tough nut for me. I have to stop, think and then play. I have been practicing this hybrid picking technique for about a year off and on and it feels so unnatural to me. I know, it’s just a matter of time and practice. It may take a while until it clicks. Got to keep my head down.


I taught my hand muscles the motions by hybrid picking on the shift knob of my car during my commute.


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## Wardo

cboutilier said:


> I taught my hand muscles the motions by hybrid picking on the shift knob of my car during my commute.


I can play faster than anyone needs to but the trick is to just play one note and have it mean something.

One thing I think is cool though is palming the pick while playing and just using your finger tips; then flip the pick out when needed. I saw Gary Rossington play slide using his finger tips to pluck and deaden the strings he didn't need; then a pick would come out of nowhere and he'd use it to put a bit of crunch on for just two notes then the pick would vanish until he needed it again. He did all this with a lit cigarette between the bottom two fingers of his picking hand. Now that was cool.


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## Grab n Go

Wardo said:


> One thing I think is cool though is palming the pick while playing and just using your finger tips; then flip the pick out when needed. I saw Gary Rossington play slide using his finger tips to pluck and deaden the strings he didn't need; then a pick would come out of nowhere and he'd use it to put a bit of crunch on for just two notes then the pick would vanish until he needed it again. He did all this with a lit cigarette between the bottom two fingers of his picking hand. Now that was cool.


That _is_ a cool trick. Like Swiss Army fingers.


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## Lola

cboutilier said:


> I taught my hand muscles the motions by hybrid picking on the shift knob of my car during my commute.


And how did you pull that rabbit out of your hat?


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## cboutilier

Lola said:


> And how did you pull that rabbit out of your hat?


I have good ideas sometimes. I just picked along to the radio until my muscles got used to the motion.


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## laristotle

Like tapping your fingers on the desk.


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## Lola

So I am trying to get 1/2 hr practice plan together specifically for speed. Divided up into 3x10 minutes. 

What would be the most basic elements be to put together.


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## Grab n Go

Lola said:


> So I am trying to get 1/2 hr practice plan together specifically for speed. Divided up into 3x10 minutes.
> 
> What would be the most basic elements be to put together.


For 15-30 mins, I'd suggest:

5-10 minutes legato (with metronome)


finger strength, independence
8th notes, no faster than 120bpm

On 4 consecutive frets, warm up with some hammer-ons across all 6 strings, at the 1st fret, ascending and descending. 1-2, 1-3, 1-4 (numbers correspond to your fingers). Make sure all notes are the same volume.

Also on 4 consecutive frets, do pull-offs ascending and descending. Start near the 5th or 6th fret. Once that's easy, move down until you can handle the 1st fret. Again, all notes should be the same volume and there should be no space between notes.

Here's the pull-off pattern:
212, 323, 432, 321 (you can also change that first "2" to 3 or 4 to switch it up.)

Edit: it's actually hammer-ons and pull-offs for that last exercise.

5-10 minutes picking inside/outside two strings. Again, 4 consecutive frets. Work up to approx 120bpm on the metronome, 16th notes. Add a 16th note rest every 8 or 16 notes to offset the pattern. You can also warm up by playing 8th notes and then triplets.

Picking pattern 1-2, 3-4, 2-1, 4-3.

------------2--------4
-------1--------3-----

followed by:

-------1--------3-----
------------2---------4

5-10 minutes Guthrie Govan picking exercises. This will improve your top speed and string crossing ability. Practice on different string pairs as well and experiment with picking inside/outside the strings.






This will likely take less time as you get better at it. Then it just becomes a warm-up and you can focus on practicing actual music instead.


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## Lola

Delete


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## gitapik

So much said here that's dead on.

It's all interrelated. The metronome and relaxation, for instance:

It's pretty amazing where we can hide tension from ourselves. It's often not as obvious as our forearms, for instance. Sometimes it can be in your foot. Or toes. Or forehead. That might sound over the top, but it does make a difference. Especially when you hit those fast and/or difficult passages. Your body and mind know it's coming up...and then, when you hit that section, you miss it and fall that fraction of a beat behind. Or more. 

Enter the metronome.

The trick here is to isolate and work on those harder areas. The areas which make you tighten up. So much of practicing is about making the hard parts easier so that you can make them flow into music. I had a friend, since passed on, who was a world famous violinist. He taught at Juilliard and the Curtis institute and he would get _so_ frustrated by his students who would not do this. Unbelievably talented players at such a high level...and he still had to teach them how to really practice.

So if you're serious about trying to achieve as close to perfection as possible:

1) Know that nobody can do this on a consistent basis. Even the greats. So forgive yourself when you don't.

2) Set your metronome to a slower speed than you think is "comfortable". Not just a _little_ slower. Not a _lot_ slower. Just slower. 

3) Play the scale/arpeggio/riff/run/section or whatever it is you're working on and make sure you can do it flawlessly, _on the beat_ (crucial), seven times in a row. If you blow it the seventh time...you have to start at one again.

4) If you can do this at that slower speed...then bring the metronome up a notch or two. (if you can't, you'll need to dial that metronome down some more). Continue this process until you reach a metronome setting where you're falling behind or speeding up the beat. Really need to focus on that beat. The spot where it gets harder. This actually happens a LOT at that first slow setting, btw. Something as simple as a fundamental flaw in technique with one movement of either hand.

5) Go back to the previous time setting where you were nailing it. If you can't do it there, then back to the one before that. Once you feel the certainty again, then return to the difficult speed and _really_ focus until you hit the _first_ spot where you lose it. Even the smallest "mistake". You might notice that you're tightening up just before shifting the fingering hand position, for instance. Or you're picking hand is crossing from the G to the B string just after a fingering hand shift. Could be anything.

6) Practice _just that one spot _until you can do it flawlessly and _on the beat_, seven times in a row. If this takes too long, then make a note of it and come back to it later. Have some fun for awhile. But you NEED to isolate the problem areas and practice the s*#t out of them until they're no longer a problem. Then move on to the next knot that needs to be undone and repeat the process. It gets easier, the more you do it, btw.

It's not that you need to do nothing but practice those tough areas. It's just that it has to be an integral part of your practice routine.

I remember watching an interview with Vai. He played what looked like a fairly simple part of one of his tunes. Then he told the interviewer that it took him 6 hours to get that one spot down. Six hours. To the point where he had to prop his left arm up on an armrest to keep it in position. Think it was like a 5 second riff.

I know this is long...but if you're looking for advice, this might just help. Here are two more things:

1) If you have the time: practice a LOT and make sure it's _focused_ practice, with purpose. Your dedicating a half hour specific to speed is an example of that. The more you practice and play, the better you'll become. But be sure you focus on pinpointing and ironing out your weak points. Practice makes permanent. Don't want to keep practicing your mistakes.

2) This worked for me. YMMV. Keep your body and mind in good physical and mental/spiritual condition. The practicing makes your arms/wrists/hands/fingers stronger and more dextrous. You can't minimize the importance of that. And if your mind is clear and your body is sound, it's a lot easier to focus and free yourself up to the difficulties of mastering a machine that's not yet a natural extension your body.

And there ya go! All the secrets of the universe in one tidy, not so little, package! 

Oh: and what everyone else said before this, too.


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## gitapik

Forgot to mention:

It can help to have specific practice/playing and rest times. Mine has been 45 minutes on and 15 minutes rest. Then repeat. And repeat.

Don’t want to tire your body or mind out, as someone mentioned before.


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## fretzel

Lots of good advice here. Have fun!


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## Lola

gitapik said:


> Forgot to mention:
> 
> It can help to have specific practice/playing and rest times. Mine has been 45 minutes on and 15 minutes rest. Then repeat. And repeat.
> 
> Don’t want to tire your body or mind out, as someone mentioned before.


I think 30 minutes divided into 3 sections

Alternate picking inside strings as well as outside

Speed runs with mistakes and all + metronome

1 solo to concentrate on until it’s complete. I think that if we admit it some of us are intimidated by long tedious solos. Back in black comes to mind. Been working on this for two yrs so far. Making baby steps progress.

I just think I am slower getting to the winners circle. That’s okay though.

Then I have the option to switch it up.


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## Paul M

Consider learning and playing vocal melodies on guitar. Melodies are, (for the most part), made of notes in the scale. As much as it is important to learn scale do to do, it's equally important to learn to play any scale note from anynother scale note. 

If you learn a scale over two octaves, you simultaneously learn the modes of that scale at the same time.


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## Lola

I tried string skipping last night. Omg this is hard beyond belief. Everything feels uncoordinated. Do I really need this in my bag of tricks? I don’t like this at all. So weird.


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## gitapik

Lola said:


> I tried string skipping last night. Omg this is hard beyond belief. Everything feels uncoordinated. Do I really need this in my bag of tricks? I don’t like this at all. So weird.


String skipping is a tough hurdle. You’re basically asking both hands to do something which is physically unfamiliar as well as training your mind to oversee the operation. That’s three tasks in one.

First order of business is the strength and dexterity of your fingers, hands, wrists, and arms. The line, “When your mind makes a promise that your body can’t fill” doesn’t only apply to older men. You won’t get the string skipping down unless your hands are in great operating order.

Some people practice riffs. Some practice scales and arpeggios. Some practice both. Regardless of the method; repetition is key. Similar to a pro athlete needing to build up muscle mass while maintaining flexibility. Same thing.

If you think you’re ready, physically, to handle the technique, then start slow and simple. Give your mind and body the time to adjust to the new task. Then speed up once you get comfortable with the basic technique

I can completely relate to your frustration. Raising your expectations and taking your playing to the next level is a major commitment and not to be taken lightly. I almost gave up a few times. It’s important to be honest with ourselves about where we are in the moment and adjust accordingly. Patience while keeping the goal in mind. 

.


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## Grab n Go

Lola said:


> I tried string skipping last night. Omg this is hard beyond belief. Everything feels uncoordinated. Do I really need this in my bag of tricks? I don’t like this at all. So weird.


Do you mean playing two neighbouring strings or actual string skipping?

String skipping is only important if you actually need it in the music you play. You can also use hybrid picking to get around string skips as well.

If it's more string crossing that you're working on, then try the Guthrie Govan exercises. 

New techniques often feel weird and it takes time. But when it comes together, it's rewarding. It's like adding another gear.

It's really your call whether you'll need it or not. What music you want to play determines what you'll keep in your wheelhouse.


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## Lola

gitapik said:


> String skipping is a tough hurdle. You’re basically asking both hands to do something which is physically unfamiliar as well as training your mind to oversee the operation. That’s three tasks in one.
> 
> First order of business is the strength and dexterity of your fingers, hands, wrists, and arms. The line, “When your mind makes a promise that your body can’t fill” doesn’t only apply to older men. You won’t get the string skipping down unless your hands are in great operating order.
> 
> Some people practice riffs. Some practice scales and arpeggios. Some practice both. Regardless of the method; repetition is key. Similar to a pro athlete needing to build up muscle mass while maintaining flexibility. Same thing.
> 
> If you think you’re ready, physically, to handle the technique, then start slow and simple. Give your mind and body the time to adjust to the new task. Then speed up once you get comfortable with the basic technique
> 
> I can completely relate to your frustration. Raising your expectations and taking your playing to the next level is a major commitment and not to be taken lightly. I almost gave up a few times. It’s important to be honest with ourselves about where we are in the moment and adjust accordingly. Patience while keeping the goal in mind.
> 
> .


I am currently working on arpeggios so I will apply the string skipping with this because I am getting comfortable playing them.

I am using this for guidance.


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## Dorian2

^^ That guy is great for that type of stuff! Pay particular attention at the 3:15 mark for what I was getting on about. It's going to take time and practice G.


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## gitapik

I read this on previous replies and I think it bears repeating:

If it’s a new physical demand; be kind to your body. The consequences if you really overdo it can be severe.

I had a friend when I was studying at conservatory. Seventeen year old pianist. He could sight read, memorize, or play by ear: _anything_. With musicality. One of the best I’ve ever seen.

He broke his arm and wrist and was in a cast for quite some time. Once out of the cast, he didn’t follow the physical therapist’s regimen. Went right back to playing 6 hours a day.

Destroyed his career. Never got it back. He became a noted musicologist, which ain’t a booby prize. But what a loss.

Can happen to anybody who pushes it beyond what the body can handle at the moment. That’s why those short periods of rest are so important. Especially when you’re first starting or are coming back from a period of inactivity.


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## JBFairthorne

String skipping is worth learning, even if it were only for doing the riff in Sausalito Summer Nights correctly. Man that riff is killer...and I just can’t get it right.


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## Lola

gitapik said:


> I read this on previous replies and I think it bears repeating:
> 
> If it’s a new physical demand; be kind to your body. The consequences if you really overdo it can be severe.
> 
> I had a friend when I was studying at conservatory. Seventeen year old pianist. He could sight read, memorize, or play by ear: _anything_. With musicality. One of the best I’ve ever seen.
> 
> He broke his arm and wrist and was in a cast for quite some time. Once out of the cast, he didn’t follow the physical therapist’s regimen. Went right back to playing 6 hours a day.
> 
> Destroyed his career. Never got it back. He became a noted musicologist, which ain’t a booby prize. But what a loss.
> 
> Can happen to anybody who pushes it beyond what the body can handle at the moment. That’s why those short periods of rest are so important. Especially when you’re first starting or are coming back from a period of inactivity.


What I have started to do in last 6 months or so is to give myself a really nice hand massage after playing. I noticed after some marathon playing my fretting hand would start to cramp up badly. I put some hand creme in the microwave and then apply it. It feels real good.


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## gitapik

Lola said:


> What I have started to do in last 6 months or so is to give myself a really nice hand massage after playing. I noticed after some marathon playing my fretting hand would start to cramp up badly. I put some hand creme in the microwave and then apply it. It feels real good.


Me too on the massage. Feels good...right?

Hand creme sounds sweet, too. All good.

I mention the 45 minutes on and 15 off because it’s served me well for a long time. I’m sure you’ll do what works for you.


----------



## Lola

So I found the perfect alternate picking exercise. Thunderstruck. But play it exactly like Angus with a strum on the B string in between every note. It’s daunting to say the least. I am at 75% speed. It took me about 2 months to bump it up. It’s a marathon for both hands.


----------



## Dorian2

Lola said:


> So I found the perfect alternate picking exercise. Thunderstruck. But play it exactly like Angus with a strum on the B string in between every note. It’s daunting to say the least. I am at 75% speed. It took me about 2 months to bump it up. It’s a marathon for both hands.


Don't be afraid to give it a little of your own touch G. I always thought I was cheating out on the lick or riff when I found a different way of playing certain phrases, licks, or riffs for covers. It was much later I realized it did, and will, work itself into your own stylistic choices all over the fretboard, no matter what the tune. Might even come up with your own shit....Keep up the good work.


----------



## Lola

So I have a plan. I noticed how my skills have really improved over the last year. So many aha moments. I chose 3 difficult for me songs with a lot faster tempo and more complicated finger patterns, pedal points, pull offs etc. I have almost nailed 3 songs I couldn’t even play at all at this time last year.

I think the best method for me is to play the songs with the stuff I need to learn. For example Play Ball has a lot quicker bpm with a lot quicker alternate picking and a lot of precise down picking, palm muting, double stops etc. I have almost got it nailed. Then I moved on to Last resort/Papa roach. It’s got a really quick peddle point riff in it. I have been working in this for the last 2 weeks to get it up to speed. I am learning at my speed but also learning a lot more that
is pertinent to becoming a better, faster player all around. This is a fun way to learn. I keep my sights on specific teachers on line as well so I can learn how to apply what I need to know to my playing. 
Feedback?


----------



## laristotle

Lola said:


> Feedback?


It sounds to me like you've developed a routine that works for you. Keep it up.


----------



## Dorian2

What @laristotle said. Use the KISS principle. One thing you will, or may have already started to notice is that those drills you're doing with different tunes and techniques will start to appear in your other songs. This is a direct contributor to developing your own playing style and sound. Glad you found a good way to develop your playing G!!


----------



## Permanent Waves

I've been trying to break through some barriers that have me thinking that my brain and my fingers can't move any faster. 
I'm not expecting to ever become a shredder, but I'd like to be able to execute more cleanly and consistently at higher speeds. 
Here's a few elements that helped me along the way...

1 - Metronome: this is key and should be use to frame all exercises - practice exercises in time until smooth, then crank up one notch at a time. 
However, don't let the metronome become a ball-and-chain. This is a bit unorthodox as it goes against the rule of "practice till perfect, then crank the metronome up a notch", but I was told to sometimes just ad-lib without a metronome for maximum speed (at some cost of precision) just to get the muscles going, then dial it back with a metronome and try to break the last BPM barrier while still executing cleanly. It worked for me. 

2 - Technique: Some exercises focus on picking hand, some on fretting hand. Do both and then combine with scale exercises:
a) Alternate picking a single note on a string, with metronome. Works picking speed and wrist/arm muscles. 
b) Alternate picking pentatonic scales two notes per string, up and down, with metronome. Improves string change precision. 
c) Alternate picking modal scales at three notes per string, up and down, with metronome. Up/Down strokes will alternate on first note every time you change strings. 
d) Alternate picking chromatically at four notes per string, up and down, with metronome. Works independence between ring and pinky fingers. 

3 - Mechanics: You can improve performance with simple economy of movement: 
a) Minimize finger travel over the frets - lift you fingers as little as possible to save time. 
b) Same with pick movements: control wrist-arm-elbow for efficient movement that minimizes fatigue. 
c) Guitar positioning - the classical guitar stance is the best for support and comfort when practicing. 
d) Experiment with different pick thickness and shapes, some may perform better for you than others. 
e) Don't forget to breathe and relax all your muscles, if you cramp up you cannot achieve anything.

4 - Regimen: Frequent short practices are better than rarer long ones. 
Once a day for 15 minutes is better than 2 hours once a week.

In the foreword to the Guitar Handbook, Robert Fripp said "We begin with the possible and gradually move towards the impossible". 
Truer words never spoken. You start at what you can do, establish a goal of where you want to go and a plan on how to get there. 
The rest is just exercise and practice, a little bit at a time. Keep track of your progress.
You may find you block at a certain point for a few days or weeks, then the flood gates open and you suddenly find yourself moving forward.


----------



## Lola

Dorian2 said:


> What @laristotle said. Use the KISS principle. One thing you will, or may have already started to notice is that those drills you're doing with different tunes and techniques will start to appear in your other songs. This is a direct contributor to developing your own playing style and sound. Glad you found a good way to develop your playing G!!





Permanent Waves said:


> I've been trying to break through some barriers that have me thinking that my brain and my fingers can't move any faster.
> I'm not expecting to ever become a shredder, but I'd like to be able to execute more cleanly and consistently at higher speeds.
> Here's a few elements that helped me along the way...
> 
> 1 - Metronome: this is key and should be use to frame all exercises - practice exercises in time until smooth, then crank up one notch at a time.
> However, don't let the metronome become a ball-and-chain. This is a bit unorthodox as it goes against the rule of "practice till perfect, then crank the metronome up a notch", but I was told to sometimes just ad-lib without a metronome for maximum speed (at some cost of precision) just to get the muscles going, then dial it back with a metronome and try to break the last BPM barrier while still executing cleanly. It worked for me.
> 
> 2 - Technique: Some exercises focus on picking hand, some on fretting hand. Do both and then combine with scale exercises:
> a) Alternate picking a single note on a string, with metronome. Works picking speed and wrist/arm muscles.
> b) Alternate picking pentatonic scales two notes per string, up and down, with metronome. Improves string change precision.
> c) Alternate picking modal scales at three notes per string, up and down, with metronome. Up/Down strokes will alternate on first note every time you change strings.
> d) Alternate picking chromatically at four notes per string, up and down, with metronome. Works independence between ring and pinky fingers.
> 
> 3 - Mechanics: You can improve performance with simple economy of movement:
> a) Minimize finger travel over the frets - lift you fingers as little as possible to save time.
> b) Same with pick movements: control wrist-arm-elbow for efficient movement that minimizes fatigue.
> c) Guitar positioning - the classical guitar stance is the best for support and comfort when practicing.
> d) Experiment with different pick thickness and shapes, some may perform better for you than others.
> e) Don't forget to breathe and relax all your muscles, if you cramp up you cannot achieve anything.
> 
> 4 - Regimen: Frequent short practices are better than rarer long ones.
> Once a day for 15 minutes is better than 2 hours once a week.
> 
> In the foreword to the Guitar Handbook, Robert Fripp said "We begin with the possible and gradually move towards the impossible".
> Truer words never spoken. You start at what you can do, establish a goal of where you want to go and a plan on how to get there.
> The rest is just exercise and practice, a little bit at a time. Keep track of your progress.
> You may find you block at a certain point for a few days or weeks, then the flood gates open and you suddenly find yourself moving forward.


excellent advice. I do most of what have said. The pick thickness I prefer is 2.0 mm. It’s heavy to go crazy when I want to just jam down on those strings and give them the thrashing of their lives. I wouldn’t want to be a shredder even if I could play super quick. Just not really my style with no emotion in the mix.


----------



## Budda

Ugh. There's emotion in shredding. Play it on a violin and people would fawn. Continue.


----------



## Dorian2

@Lola , have you tried slightly thinner picks? You might find a bit of pick flexibility helpful for certain techniques.


----------



## Lola

Forgot to add. When you’re so damned eager to do something I personally over analyze things. I really didn’t like where things were going with my practice schedule. Adding a way too many dammed exercises. I finally realized that that kind of practice I didn’t really need. Everything was getting too complicated. I will do whatever it takes but you have to know where to cut out the BS you don’t really need and just focus on what actually need. It only took me 10 years to come to this realization. What’s amazing though is because I am at that place in my guitar journey that if I practice it, I know will eventually get it. It’s within my grasp. Knowing that really boosts my confidence.


----------



## Lola

Budda said:


> Ugh. There's emotion in shredding. Play it on a violin and people would fawn. Continue.


My bad Budda. I watched a vid of a guy shredding this afternoon and it really tainted my opinion of shredding. Shouldn’t of said that sorry. Just typed before I thought! EVH was one of the best ever. Yngwie comes to mind also.


----------



## Lola

I honestly believe you can achieve whatever you put your mind to. I am living proof. Naysayers eat it!! This is such an awesome journey! So many peaks and valleys. It never gets old!


----------



## tomee2

Lola said:


> I honestly believe you can achieve whatever you put your mind to. I am living proof. Naysayers eat it!! This is such an awesome journey! So many peaks and valleys. It never gets old!


I really admire your work ethic on this.


----------



## Lola

tomee2 said:


> I really admire your work ethic on this.


Thank you. To be appreciated by one of your own means a great big big deal to me!! I am so grateful to my father for this. He never gave up. One of the best lessons to teach your daughter. No isn’t in my vocabulary.


----------



## Permanent Waves

Lola said:


> excellent advice. I do most of what have said. The pick thickness I prefer is 2.0 mm. It’s heavy to go crazy when I want to just jam down on those strings and give them the thrashing of their lives. I wouldn’t want to be a shredder even if I could play super quick. Just not really my style with no emotion in the mix.





Dorian2 said:


> @Lola , have you tried slightly thinner picks? You might find a bit of pick flexibility helpful for certain techniques.


This is a very interesting point. I made experiments with tons of picks and also settled on thick (3.0mm) picks as well - glad to see I am not the only one. I have to mail-order the Jim Dunlop Stubby Triangles in 32-pick batches since no one carries them anymore. They'll last longer than I will .

Decades ago, I was using the paper thin (.38mm?) Dunlops to improve my speed. I was digging too much into the string so I needed a pick that would "forgive". I then ordered a Stylus training pick which has a diamond-like point that snags the string when you dig in too much. That allows the player to develop a lighter touch that is more favorable to speed, and ever since then I went with 3.0mm and never went back. 

Speaking of speed, my guitar teacher has an interesting video on the subject. As much of a speed and performance fan as he is, even he thinks you can take it to ridiculous heights. Some of the clips in his commentary video are pretty interesting to say the least. I'm trying to improve my playing, but I don't think I could even get close to 200BPM 16th notes. These guys just smash that:


----------



## Lola

I have tried so many picks. I have a little box full of about 100 or so. I bought some, traded some and were given some. My favorite picks still are Planet Waves Black Ice extra heavy 2.0 mm. I can maneuver these little puppies pretty good. I really tried to get used to using my V-picks but I always revert back. I am always up to try new product because you just never know.


----------



## Lola

When I was playing last night I really focused on how close my fingers were to the fretboard. In fact, I had to make a lot of adjustments along the way. I was just noodling around. I didn’t realize that in some songs they were out in left field. That cuts down on proficiency right there. I need to be mindful of this.


----------



## greco

Lola said:


> ...I really focused on how close my fingers were to the fretboard.


I don't understand what you mean by this.


----------



## Lola

greco said:


> I don't understand what you mean by this.


So I don’t waste time or energy by not having my fingers as close to the fretboard as possible.


----------



## laristotle

greco said:


> I don't understand what you mean by this.





Lola said:


> So I don’t waste time or energy by not having my fingers as close to the fretboard as possible.


I think that means a light touch, not pressing down hard. Correct Lola?


----------



## Lola

laristotle said:


> I think that means a light touch, not pressing down hard. Correct Lola?


Yes a light touch is what I am starting to develop but it’s also making sure my fingers are essentially hovering closer to the fretboard and strings=less energy used. I started to experiment with how much finger pressure I have to apply to get a nice sounding whatever. I sometimes am finding that I am going at a blinding speed for me personally while trying to practice and sometimes my fingers don’t connect right on the note. It sounds just off, flat usually. I just keep practicing it at that speed until I get. I won’t slow it down. Sometimes it’s a simple fill but to get it right you have to play it right or vice versa.

just a little temporary bump in the road. So much fun.


----------



## Lola

Looking for a new pick and came upon this baby at the bottom of the barrel. I thought I would give it a try. I love this pick. It’s the only one that doesn’t spin in my fingers. But it’s smooth surfaced just like my others. I didn’t have to correct it once in three hours of practice. It’s 1.35 mm. It has a bit of flex but not much. 

Is it physiological that I think it makes me play better? The spin thing with other picks I have really bugged me when I played. I even tried adjusting my grip strength from mild to wild and to no avail.


----------



## Permanent Waves

The texture and the kind of plastic it is made from will make a difference in the grip, and I find a pick that holds firm without having to use much force will definitely improve technique and reduce fatigue. I had a chance to go to NAMM some years a go and was looking for an alternative to my Jim Dunlop Stubby picks and came across the V-Pick booth (https://v-picks.com/) and bought a few. They are made from some type of plastic that seems to get "tacky" when held, and have a very stable grip. I couldn't find the exact shape and thickness I wanted but it was an interesting trial. Downside is they are a bit expensive at $5-$10 per pick, they even have a 12-mm pick for $33. Good thing the grip is good, you don't want to drop that on your foot.


----------



## Lola

Permanent Waves said:


> The texture and the kind of plastic it is made from will make a difference in the grip, and I find a pick that holds firm without having to use much force will definitely improve technique and reduce fatigue. I had a chance to go to NAMM some years a go and was looking for an alternative to my Jim Dunlop Stubby picks and came across the V-Pick booth (https://v-picks.com/) and bought a few. They are made from some type of plastic that seems to get "tacky" when held, and have a very stable grip. I couldn't find the exact shape and thickness I wanted but it was an interesting trial. Downside is they are a bit expensive at $5-$10 per pick, they even have a 12-mm pick for $33. Good thing the grip is good, you don't want to drop that on your foot.


I actually have several V-picks, different styles. To me they’re just not comfortable. They spin in my fingers too. I have over the years tried so many damned picks. I think the Jazz III fits the bill nicely. It’s the perfect size for me. It’s so comfortable and the best part is that it doesn’t spin. I would sometimes get stressed over that fact because you can blow a really nice riff/solo etc with a spinning pick.


----------



## Chito

Lola said:


> I actually have several V-picks, different styles. To me they’re just not comfortable. They spin in my fingers too. I have over the years tried so many damned picks. I think the Jazz III fits the bill nicely. It’s the perfect size for me. It’s so comfortable and the best part is that it doesn’t spin. I would sometimes get stressed over that fact because you can blow a really nice riff/solo etc with a spinning pick.


If you like the Jazz III then you should look at the Blue Chip picks. That's what I replaced the Jazz IIIs that i was using before. Same shape just better material. It's been over 10 years now and I have been using THE SAME picks since. Never had to buy anymore and those picks are great for playing light or hard, and also sticks to your finger. It is expensive but it's worth the extra cost.


----------



## Chito

@Lola I'm also curious as to what you are planning to perform when you busk? Are you going to sing? Or just play rock songs without vocals and then solo? Or just play solos? So you have a set list? Are you going to be alone?


----------



## Grab n Go

There's also Jazz III Max Grip picks as well.


----------



## Lola

Chito said:


> @Lola I'm also curious as to what you are planning to perform when you busk? Are you going to sing? Or just play rock songs without vocals and then solo? Or just play solos? So you have a set list? Are you going to be alone?


Yes I am going to be alone. 

What i am doing is just playing. I don’t sing. I am going to be using backing tracks for whatever I need. My set list will vary at times. I just want to keep it fresh and new with the 100 + songs that I know back to front and vice versa. I am learning as I go. I also thought of maybe doing a few blues improvs that I have nailed along the way. Just for variety. 

BUT we are going into another lockdown from what I deduce from the news. 

I have been keeping my eyes on Europe what’s going with regards to lockdown. It really looks shaky with going to Europe. I really want to go badly but may have to wait until next year. I am okay with that. 

COVID is putting the kibosh on everything. Patience is definitely a virtue here. 

“I am ready for my closeup Mr. Demille.” Lol


----------



## Chito

Lola said:


> Yes I am going to be alone.
> 
> What i am doing is just playing. I don’t sing. I am going to be using backing tracks for whatever I need. My set list will vary at times. I just want to keep it fresh and new with the 100 + songs that I know back to front and vice versa. I am learning as I go. I also thought of maybe doing a few blues improvs that I have nailed along the way. Just for variety.
> 
> BUT we are going into another lockdown from what I deduce from the news.
> 
> I have been keeping my eyes on Europe what’s going with regards to lockdown. It really looks shaky with going to Europe. I really want to go badly but may have to wait until next year. I am okay with that.
> 
> COVID is putting the kibosh on everything. Patience is definitely a virtue here.
> 
> “I am ready for my closeup Mr. Demille.” Lol


Ahh backing tracks, makes sense now. Sounds like a good plan. Unfortunately, we're going to be in a 28-day lockdown again.  
My wife and I are also looking at going to Ireland next year. It's my birthday gift for my wife's milestone birthday next month. She went to look for her ancestors and she was able to track them down. And we are planning on visiting the places that these ancestors of her, used to live.
Anyways, good luck with busking. It sounds fun.


----------



## Thunderboy1975

Chito said:


> Ahh backing tracks, makes sense now. Sounds like a good plan. Unfortunately, we're going to be in a 28-day lockdown again.
> My wife and I are also looking at going to Ireland next year. It's my birthday gift for my wife's milestone birthday next month. She went to look for her ancestors and she was able to track them down. And we are planning on visiting the places that these ancestors of her, used to live.
> Anyways, good luck with busking. It sounds fun.


 My Grandpa was a Dillon from Ireland. 
There is an old Irish saying: "All the Dillons descended from Henry de Leon."


----------



## Lola

Chito said:


> Ahh backing tracks, makes sense now. Sounds like a good plan. Unfortunately, we're going to be in a 28-day lockdown again.
> My wife and I are also looking at going to Ireland next year. It's my birthday gift for my wife's milestone birthday next month. She went to look for her ancestors and she was able to track them down. And we are planning on visiting the places that these ancestors of her, used to live.
> Anyways, good luck with busking. It sounds fun.


That’s such a coincidence. I bought an Ancestry kit for my husband to trace his history with. England and Ireland are where his ancestors are from. We are going hopefully next year. He even has a town that is named with his namesake. I want to go see all the churches, cemeteries and just drink in the ambience. London tower, Stone Henge. So many places to see. It will be nice just to be in each other’s company with no distractions.


----------



## Lola

I just need to thank Cheezy to. He has always been in my corner and been so encouraging and very kind with his words. Such great support. His words always manage to touch me in some way. 

A great BIG thank you Cheezy for you sage words of advice.I have learned some important life lessons from you!! That is a big deal to me. You’re the best!!


----------



## greco

Lola said:


> He even has a town that is named with his namesake.


Would you share the name of the town? 
I lived in England for three years and travelled a fair amount while there.


----------



## Lola

greco said:


> Would you share the name of the town?
> I lived in England for three years and travelled a fair amount while there.


The Town of Whalley. It was his ancestor that started this place and was named after. 

Whalley is an ancient Norman name that arrived in England after the Norman Conquest of 1066. The Whalley family lived in Lancashire, in the township of Whalley while Whaley is a small village in Derbyshire.

We have traced back to 1066. We also have a family bible dating back to the early1800’s with so much valuable info within. It just trying to place all the prices of the puzzle together. It takes patience and time.


----------



## greco

Lola said:


> The Town of Whalley. It was his ancestor that started this place and was named after.
> 
> Whalley is an ancient Norman name that arrived in England after the Norman Conquest of 1066. The Whalley family lived in Lancashire, in the township of Whalley while Whaley is a small village in Derbyshire.
> 
> We have traced back to 1066. We also have a family bible dating back to the early1800’s with so much valuable info within. It just trying to place all the prices of the puzzle together. It takes patience and time.


Very interesting! 








Whalley, Lancashire - Wikipedia







en.wikipedia.org




I travelled through Lancs a few times but not to Whalley specifically.
@davetcan might know more about the area.


----------



## davetcan

greco said:


> Very interesting!
> 
> 
> 
> 
> 
> 
> 
> 
> Whalley, Lancashire - Wikipedia
> 
> 
> 
> 
> 
> 
> 
> en.wikipedia.org
> 
> 
> 
> 
> I travelled through Lancs a few times but not to Whalley specifically.
> @davetcan might know more about the area.


Not much I'm afraid. We've been there, and it's beautiful, but it was just one stop amongst many  We spent quite a bit of time in the Clapham/Skipton area, which is just north of it.


----------



## Hammerhands

I haven’t used a pick very often in a long time. The last ones I used for a few years were nylon Jazz III.

I felt they gave me more control, they allowed a greater dynamic range in my picking, responded to different grip pressure, made me play with more precision. I felt I could play faster as I wasn’t waiting for the pick to bounce back.

My guitar teacher told me I was wrong about everything. The picks he used, mostly only for strumming, were the large 3-sided, not exactly triangular Fender ones, usually light, never more than medium. What I remember of his arguments were that you never want to grip a pick tightly as it will slow you down and if you strum just a tiny bit too deep a hard pick will catch and possibly fly from your hands where a thin pick will reliably give.


----------



## Hammerhands

Do you know about choke picking? I always think of the solo from The Cult’s Wildflower. It’s something I found was almost natural to do with a Jazz III.

Up near the pickups, find the spot where if you touch the string lightly you will get a nice pure harmonic. If you move a little from that spot you will find a lot of other harmonics close together.

Grip the pick close to the tip. If you grip a little tighter, your thumb will spread out. The trick is to pick above the harmonic spot and then have the side of your thumb touch just after the pick. If you grip the pick in the right spot, with every stroke you can have a fundamental note or a harmonic depending on how hard you grip the pick.

If you play a diffrerent fret, that harmonic spot will move, where you should pick is a bit of a guessing game at first. Sometimes you will get a different harmonic than you expect, which can be fun.

You can also get the same effect on the upstrokes with the tip of your index finger, but it isn’t as easy to do.


----------



## Lola

Permanent Waves said:


> The texture and the kind of plastic it is made from will make a difference in the grip, and I find a pick that holds firm without having to use much force will definitely improve technique and reduce fatigue. I had a chance to go to NAMM some years a go and was looking for an alternative to my Jim Dunlop Stubby picks and came across the V-Pick booth (https://v-picks.com/) and bought a few. They are made from some type of plastic that seems to get "tacky" when held, and have a very stable grip. I couldn't find the exact shape and thickness I wanted but it was an interesting trial. Downside is they are a bit expensive at $5-$10 per pick, they even have a 12-mm pick for $33. Good thing the grip is good, you don't want to drop that on your foot.


Your absolutely correct. I just didn’t use common sense to put this together. Fatigued and stressed out fingers could be a making in the nightmare. I played for a really long time last night and I did have to correct the Jazz III just once. It did do a spin on me. I will just have to keep an eye on my grip strength.

I guess this mission isn’t complete. Looking for that holy grail of picks. I am going to start investigating some other choices that could be out there and I have no knowledge of.


----------



## Lola

I am playing some songs with heavy palm muting and that is good except for sometimes I hear a little ping from the strings right after I lift the mute . Am I touching it with some part of my hand? I must be? This is really annoying. I have analyzed my hand movements and nothing seems to be touching any strings. This is a mystery. Something is not right.


----------



## Lola

What are all the techniques you hear?

I really need to bone up up on my technical aspects of playing a well. They’re progressing but not as fast as I want.

Omg I love this. Amazing. There’s Malmsteen haters I know. Whatever.


----------



## fretzel

Lola said:


> What are all the techniques you hear?
> 
> I really need to bone up up on my technical aspects of playing a well. They’re progressing but not as fast as I want.
> 
> Omg I love this. Amazing. There’s Malmsteen haters I know. Whatever.


You will be hard pressed to a more efficient right hand than Yngwie's. Watch the economy of motion. A lot of it generated with just the thumb and index finger. 

His vibrato ain't bad either.


----------



## Lola

I have been using this guys lessons to increase my speed. I have been practicing his stuff for about a month. I noticed a slight improvement but it’s just a matter of being disciplined enough to sit and practice this while I would rather be practicing something else. These lessons are absolutely a necessary evil but I know in the end I will reap the benefits.


----------



## Permanent Waves

Lola said:


> I have been using this guys lessons to increase my speed. I have been practicing his stuff for about a month. I noticed a slight improvement but it’s just a matter of being disciplined enough to sit and practice this while I would rather be practicing something else. These lessons are absolutely a necessary evil but I know in the end I will reap the benefits.


My teacher is a massive shredder and he is really insistent on a daily practice regimen, even if it is short. It is better to practice 15 minutes a day every day than 2 hours a week in one sitting. I find that is very true. I keep track of the speed I can execute every exercise, and progress is slow but constant with this method. I can only crank up about 2 BPM per week on every exercise, but progress is constant. It comes in little bits on a short sitting, then picks up again the next day. Good news is, there is no fallback, only forward progress.

I like Bernth's approach as well. These guys with the European accents can really shred . He is bang on about picking hand anchoring and fretting hand economy. One thing I discovered is that my major slowdown is string changes (duh!). I have been taught alternate picking and cannot do anything else, but I have learned that directional picking (basically using a downstroke every time you move to a higher string and an upstroke when moving to a lower string) is more efficient even if it breaks the alternating pattern, but I cannot train my brain to do it. 

I will never shred the way this guys does (nor is it my intention to) but one thing I noticed in the last 2 months is that there is a clear "trickle down" effect on my everyday playing. The simpler stuff I play every day is executing far more efficiently, smoothly and accurately. The trickier bits when I would stumble half the time are flowing much better with fewer mistakes.


----------



## Lola

I have no trouble with being disciplined while practicing. I just like to make it interesting. I play everyday for as long as possible. Weekends are always marathons. How can you get better when your not willing to pay your dues?


----------



## Lola

Permanent Waves said:


> My teacher is a massive shredder and he is really insistent on a daily practice regimen, even if it is short. It is better to practice 15 minutes a day every day than 2 hours a week in one sitting. I find that is very true. I keep track of the speed I can execute every exercise, and progress is slow but constant with this method. I can only crank up about 2 BPM per week on every exercise, but progress is constant. It comes in little bits on a short sitting, then picks up again the next day. Good news is, there is no fallback, only forward progress.
> 
> I like Bernth's approach as well. These guys with the European accents can really shred . He is bang on about picking hand anchoring and fretting hand economy. One thing I discovered is that my major slowdown is string changes (duh!). I have been taught alternate picking and cannot do anything else, but I have learned that directional picking (basically using a downstroke every time you move to a higher string and an upstroke when moving to a lower string) is more efficient even if it breaks the alternating pattern, but I cannot train my brain to do it.
> 
> I will never shred the way this guys does (nor is it my intention to) but one thing I noticed in the last 2 months is that there is a clear "trickle down" effect on my everyday playing. The simpler stuff I play every day is executing far more efficiently, smoothly and accurately. The trickier bits when I would stumble half the time are flowing much better with fewer mistakes.


Lots of great info for the taking. Thank you so much for pointing out things to me. Sometimes we can’t see the forest for the trees. Lol


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## Lola

So I found the perfect warmup and practice exercises. It’s not as easy as it looks. This covers everything I need and more. I Really like this guys lessons. I don’t necessarily want to shred just to overall improve. Practicing more difficult songs to. It makes such a difference in your abilities.


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## zztomato

http://mrfastfinger.net/


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## Lola

zztomato said:


> http://mrfastfinger.net/


He’s also very good but I just like Bernth. I have been following his lessons for awhile. He’ll get me to the place I want to be at.


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## StringNavigator

Speed is highly overrated.
No good will come of it, I tell ya... Just a bunch of show-offs!
I hope you all play so fast, your fingers all fly off...!
That'll learn ya...


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## Lola

StringNavigator said:


> Speed is highly overrated.
> No good will come of it, I tell ya... Just a bunch of show-offs!
> I hope you all play so fast, your fingers all fly off...!
> That'll learn ya...


But seriously! Lol I don’t want to be a maniac just increase my speed a little more then my current skill set.


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## StringNavigator

LOL! Knock yourself out!
Us turtles will all sit and watch.
Signed,
Vice President of the Turtle Club


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## laristotle

rah, rah, rah!


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## robertmc

Assuming you are trying to increase alternating up/down...

For a minute just do 8th notes down only. Do this until you feel it's your thumb pad doing the 8th. Increase this speed to as fast as you can and still play cleanly.

Now take a look, is this speed faster than you have not been able to do with 16th notes alternating?


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## Dorian2

Speed and precision are very valuable commodities in all styles of guitar. Keep going @Lola ...


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## Lola

Dorian2 said:


> Speed and precision are very valuable commodities in all styles of guitar. Keep going @Lola ...


I am doing this precision scale practice drills right now by Bernth and I really have to concentrate as well as focus. As you move through the scale horizontally it’s one finger lifted at a time while the 3 fingers remain in contact with the fretboard. Coming down through the scale is a lot easier, going up is really difficult or me but with practice it’s getting easier. At this time in the game I am doing everything with the utmost patience and precision that I possibly can. It’s really challenging. This will pay off big though.

Thanks Dorian for your support. I really appreciate it.


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## Dorian2

Lola said:


> I am doing this precision scale practice drills right now by Bernth and I really have to concentrate as well as focus. As you move through the scale horizontally it’s one finger lifted at a time while the 3 fingers remain in contact with the fretboard. Coming down through the scale is a lot easier, going up is really difficult or me but with practice it’s getting easier. At this time in the game I am doing everything with the utmost patience and precision that I possibly can. It’s really challenging. This will pay off big though.
> 
> Thanks Dorian for your support. I really appreciate it.


No problem. If you want to cut the practice load in half on a particular drill, pare it down to the more difficult part for you. Just to catch up to the good part. Shouldn't take too long.

😃


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