Page 5 of 83
#163
Not for me I have four exams to revise for so I'm not getting much practice at all.
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#164
sweeps are really pissing me off... like i know the tech, but i keep ****ing up on the not letting your fingers stay there, like i get lazy and then they get all sloppy, unless i work really hard on them, but if i dont practice them and just paly then add em in , i do the tech wrong.
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#166
Fortunately I still have quite a few years to go till my exams, but last week I was gone on a fieldtrip so there wasn't much guitar playing for me then.
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#167
Question about tremolo picking:

I've been playing for about 2 and a half years holding my pick with the thumb, index and middle. Just about a month ago I decided to take my middle finger off to hopefully correct my technique. Now it's harder to tremolo pick accurately because I don't have that extra finger to stabilize the pick. Will this get better over time as I strengthen my hand or whatever?

Also, a question about picking/tremolo in general:

I can tremolo pick pretty good (w/ the exception of the problem above) but when I get better, will these be tremolo to me anymore? Like will my regular picking get up to my tremolo speed so that i can play regular cross string riffs at the speed of tremolo?
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Last edited by Gman400 at May 13, 2006,
#168
^Eh, don't you mean you took your middle finger off? Without thumb it'd be kinda hard.

Anyway, yes, it'll get better.

And tremolo picking is pretty much the "roof" up to which your speed can go... It's not very realistic you'll reach that speed on difficult patterns, but it's possible on for example three note per string licks. More realistic is that as your tremolo picking speed improves so will your general speed.
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#169
Ok thanks. Do you think I should practice tremolo consistantly or mostly rely on just improving my regular picking speed in order to get faster? Sorry if this is a stupid question :/
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#170
Regular picking speed without a doubt.
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#171
Question: My guitar teacher (very good, teaches college courses) said that I shouldn't use my pinky to anchor the rest of my hand on the body of the guitar because it mutes the tone slightly and limits mobility. This seems weird to me, because I can go much faster and cleaner using the anchor technique. Could anyone give a group of pros who do anchor and a group that doesn't? Any other tips? Thanks.
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#173
^I'd say the second triplet of people there can go into 20+nps with ease, while the first group is in the teens and only briefly go past 20nps.
#175
^^^yeah (well I've rarely seen/heard Gilbert go 20+ nps).
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#176
Quote by chase09
^You sir, are correct. Although, anchoring is much easier and feels more natural, I think I might make the effort to stop.


That's simply untrue... Only to you, because you're used to it.

And Scorzerci: Gilbert doesn't really use much of his chops, you know. I'm sure if he'd go all out he'd be well above the 20 nps mark.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


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#177
^^Absolutely--i hate the way some people dont really take Gilbert's playing as seriously as Lane or Cooley's---the guy is a ****ing shred monster, watch the intro to Intense Rock---im not saying he hits 20nps there, but look he easy he makes it--the other thing with Gilbert is his use of accents, he uses them at ANY speed, he never forfeits dynamics for sheer speed.
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#178
I love Paul Gilbert....
'If you wish to make an apple pie from scratch you must first invent the Universe' - Carl Sagan.
#179
^ remember that scarified intro solo? Gilbert is a bloody freak, and tbh, his right hand technique is some of the best i've ever seen. He just never really goes all out...but seriously, you just need to see him do an outside string skip so fast and hard that his hand blurs and you just about hear this "SNAP" noise...

Quote by Four-Sticks
^I'd say the second triplet of people there can go into 20+nps with ease, while the first group is in the teens and only briefly go past 20nps.


No, the second triplet can only do 20+ on their fastest licks. The first wont touch it without some serious sweepage or tappage. The fastest guitarist list is based on the very fastest runs, so dont take it as gospel for everyday usage. Im updating it pretty soon.

Quote by Resiliance
Regular picking speed without a doubt.


To reinforce what resi said, the hardest part of picking is changing strings, it's what will slow you down on complex patterns. To that end, practicing tremolo picking will do you zero good if your problem is inside string changing, not single string speed.

Your top speed is dictated by the weakest part of each run. So in a 3nps scale, your highest speed will be limited by the worst movement, which is usually an outside or inside string skip.
#180
Ever seen Gilbert go through his string skipped arpeggios---i thin its on INtense Rock 2?-He plays these monster arpeggios to the progression of canon in D--and he goes through them slow, talking about how hard some of the string skips are, and then when he does the whole thing "up-to-speed" its just a frickin blur, over in about 5 seconds...

Im telling, the guy is one of the best in the business, he just tends to focus on pentatonic stuff because thats what beginners to shred want to see, as opposed to being overwhelmed by heavy theory etc, he makes it fun--Paul is the first to admit that a lot of his stuff is simple elaborations on an even simpler idea, its just the speed, intensity and dynamic approach he takes that make it sound so damn good.

ps--My laptop died the other day and now ive lost 40gb of music---i was in the process of backing iot up, but i didnt get too far--saved POwers of Ten etc, but lost Truth in Shredding, all Satch, all Vai etc...--and i lost my Guitarpro and about 10,000 guitar pro files---boo hoo hoo...
I'll get a new hard drive soon, but i'll invest in an external one to rebuild my collection.
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#181
Quote by wil
because thats what beginners to shred want to see


That's not true. He doesn't do it because that's what people want to see... He does it because he likes it.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


Remember: A prudent question is one half of wisdom.

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#182
Quote by Resiliance
That's not true. He doesn't do it because that's what people want to see... He does it because he likes it.


IM sure he 'likes' playing neoclassical things as well, but in the more 'general' lessons and interviews ive read with him, he applauds the pentatonic as being versatile and to a certain degree, a failsafe as all of the notes sound ''right''--he's the first to admit that some of his exercises can sound a little contrived, but theyre a means to getting to grips with a certain technique and then EXPANDING on it---ive seen footage of him where he'll play a basic pentatonic exercise and then 'colour' it with all kinds of chromatic variations, blue notes, changing of sclaes form major to minor, augmented notes, diminshed notes, dorian, mixolydian, phrygian ideas--but he says he doesnt want to overwhelm people with these variations, as they should ultimately be up to the player's discretion--he simply offers the 'building' blocks--He's always encouraging people to diversify and expand.
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#183
... But he doesn't do it because that's what people want to see...
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


Remember: A prudent question is one half of wisdom.

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#184
^^That is from guitars from mars 2.
I actually learned some better blues improv from that which aided my wankery at jamming nights a lot . It's funny how he comments on his licks in his video's. "And it contains a lot of position shifts so euh.. go ahead and impress the neighbours".
#185
I've just been practising my sweeping and my fingers **** up when I go to use the same finger again...I can like...some five string stuff but when I have to use a finger again..for example:

E|--12
B|------13
G|----------14
D|--------------15
A|-------------------14
E|

I find the B on the A string hard to hit because I have to use my third finger again. I just find it difficult.

So does anyone have any tips or ideas for ways that i can sort this problem out?
'If you wish to make an apple pie from scratch you must first invent the Universe' - Carl Sagan.
#186
I hate to say it because it's a fairly obvious response, but, practice? Maybe your fingers just aren't used to that kind of pattern yet. I remember some time ago I couldn't do the 1, 2, 4 chromatic pattern, now I'm pretty decent. Just takes the fingers some time to get used to it I suppose.
#187
Quote by Resiliance
... But he doesn't do it because that's what people want to see...


Im sure that has SOMETHING to do with it, you have to turn people on--not literally-with what you play, we've come to expect great pentatonic ideas from PG so when i watch a lesson of his, thats what I want to see.
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#189
Quote by Matt_Malmsteen

I find the B on the A string hard to hit because I have to use my third finger again. I just find it difficult.

So does anyone have any tips or ideas for ways that i can sort this problem out?


practice excercises with just your pinky and ring finger, itll improve your dexterity and make that sweep alot easier. Just come up with a variety of things to practice.
#190
I'm currently learning far beyond the sun... but I've recently gotten to this part


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and I can't seem to fit my fat fingers in the 21st fret and downwards that fast... how do you suggust I practice this?
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#191
Quote by Resiliance
That's simply untrue... Only to you, because you're used to it.


I meant that it's easier and feels more natural to me. Sorry for wording that post poorly. I wasn't trying to state that anchoring is more natural in general, but it was for me as it was just a habit I picked up on subconsciously when I started getting into the "shred scene".
#192
Quote by Resiliance
And Scorzerci: Gilbert doesn't really use much of his chops, you know. I'm sure if he'd go all out he'd be well above the 20 nps mark.

On this subject:

Gilbert's use of dynamics, accents, triplets, subtle speed changes, muting, and pick attack is ridiculous.

I haven't seen anyone touch his muting/dynamics and sheer smoothness. Seriously, nobody looks slicker when they're playing around the 18 nps range. Nobody.

Quote by TylerRRR
I'm currently learning far beyond the sun... but I've recently gotten to this part


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and I can't seem to fit my fat fingers in the 21st fret and downwards that fast... how do you suggust I practice this?
Do it slower.
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#193
Quote by Stratwizard
Lol what's all the PG hype suddenly? Tired of worshipping Lane?


Don't know about them, but I'm still sticking with my original.
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#194
OK, because i can play Yngwie's Vengeance, most (if not all) metallica and some similar slayer riffs(yes, i know theyre awful but im putting this in context)--i took it for granted for a long time that i could play Wasted Years by Iron Maiden---i learned all the rhythms and the solo without too much difficulty but i realised recently that i was p;laying the riff---a descent down the E natural minor scale with the high e as a pedal tone---far too quickly and when i came to slow it down and play along with the record, i found it really difficult.

I know the riff isnt too fast or anything, but i found my picking wrist lacked the co-ordination to p;lay it at this steady tempo-===I can alt.pick across the strings a lot faster than Wasted Years' tempo, but i cant really explain....its like there's NOT ENOUGH wrist movement when picking on one string and i find myself tensing up when i only have to move the pick in a basic, contained down-up motion.

I found i could play it at a decreased tempo by not resting any part of my forearm on the guitar--sort of floating my hand in the air, and im wondering whether i should take this approach(ill admit it feels weird) and restructure my playing approach entirely?

I mean, people might say '' what about palm muting'?'' but surely its better to learn this way and then use palm muting to your own discretion rather than ONLY learn to play with your wrist planted on the bridge?

Does that make a word of sense??
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#195
^^ I think what you're refering to is anchoring, which is resting your wrist on the guitar.

There was a thread about this recently but it is better to NOT anchor as it slows you down for one and can cause tension and therefore wrist problems.

Personally I used to anchor until recently and I'm still disciplining myself to not anchor but I can say it's alot better, makes string skipping easier and palm muting at your own discretion isn't that difficult, for example the palm muted bit in For Whom The Bells Tolls(the Kirk Hammet bit nearer the beginning).....is what I used to practice the palm muting thing...then I went onto do triplets and gallops etc.


This floating you talk about is what alot of players like Gilbert and Lane do and their picking technique as you can see is amazing.

So yeah you should slow down to learn how to play without anchoring, it'll benefit your picking alot.

..Also it didn't make too much sense, so if this response seems weird or off, it's because I didn't get entirely what you meant
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#196
^Correct me if I'm wrong but isn't anchoring when you rest the fingers on your picking hand that aren't holding the pick on the guitar?
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#197
^Or wrist.
He who joyfully marches to music in rank and file has already earned my contempt.
He has been given a large brain by mistake, since for him the spinal cord would fully suffice.


Remember: A prudent question is one half of wisdom.

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#198
so then resting your wrist on the bridge is bad as well?? DAMNIT!
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#200
so basically, my entire forearm should not be touching the guitar?? Ive seen footage of Gilbert where the side of his wrist seems to be resting on the bridge and i didnt realise this could be such a problem---im beginning to think i may have to start from scratch here people...

But when i practise on an acoustic, the front of my elbow is resting on the top of the guitar which is unavoidable, yet seems to be in itself, causing tension.

The plot thickens...
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