Conference napalm::guitar

    A lot of my students (you know, those annoying 15-year olds who can
    play ten times faster than I can??!!) who are into speed use mostly arm
    motion for the rapid fire ascending/descending scalar stuff, but for
    one-string figures and licks I notice they use a combination of wrist
    motion and circle-picking, and wrist motion for arpeggios of death! I
    agree the arm motion is limited and the thought doesn't thrill me, but
    if it works, hey, why not??
    
    Comments from speedsters like Dave Bottom or Fred Abatelli??

      I've always had a slow hand when it came to quick picking
    with the right hand. I tried to double pick in the beginning (too
    many years I'll admit) and it worked great.... for a while that is.
    When Southern boogie, southern rock came along, I met alot of guitarists
    south of the "Mason Dixon Line" that showed me a way of using the
    double picking of the right hand and the quick pull-off of the left
    hand when doing leads within songs. This helped me alot. I am NOT
    a fast guitarist by any means. Maybe slightly quick by standards 10 yrs ago,
    but now.?? NO WAY! I don't remember ever using major movements of
    my arm for much other than positioning of the right hand and hitting
    switches and volume pots. Sorry, I'm no help in that way. Probably
    no help in any other way either, but in any case... there ya have
    it !!
        I have a few other tricks that I've found,
    but in lew of the fact that the Fall-jam is coming up...

    I feel that I should keep a few things to myself. Of course, I don't
    know what those things are yet...   but I'm working on it !!  :^)
       
    Fred

I use a combination of three techniques depending on what I'm playing.  It
seems to me there is no best way for everything.  Every technique seems to
lend itself to certain note patterns, and every technique seems to come
with its own limitation.

	1.  For very fast scales, or any melody where I'm not jumping
	    over two or three strings, I use mostly arm motion.  The right
	    hand is made into a sort-of fist; no resting the pinky on the
	    pickguard or heal of the hand on the bridge.  BTW -
	    when playing like this, I use slight wrist motion for accents.

	    For me, the limitation to this technique is accuracy accross
	    strings, which is why I don't use it if I'm jumping around alot.

	2.  For intricate melodies that jump from string to string, I use
	    mostly wrist motion - and practice *A LOT* to get them fast.

	    For me, the limitation on this one is speed.  It's, as noted in
	    the base note, just not as fast as #1 above.

	3.  For fast accending/decending or decending/accending arpeggios I
	    use a circle picking technique.

	    The tough part about this one is not making the passage sound
	    gliss-picked.   I use my left hand to determine note duration.

All in all I think what works for you works for you.   The key to any of
these techniques is practice, *practice*, *PRACTICE*.

Great big help this all probably was !-:)

steve

    One way to double your speed is to pick the string on the down stroke
    then to pick it again on the up stroke. This cuts the time between
    notes in half. It sounds easy but in time this technique can really
    increase your speed.
    
    Mark Jensen

RE: .3  Opps!  I was in a hurry when putting in reply .3 and used the wrong
term for the type of picking technique used in example 3.  I should have
said sweep picking, which is one of the techniques highlighted in the
recent Guitar Player magazine featuring speed techniques.  I have used this
technique for about 3 years, and didn't even know it had a name until I saw
the GP issue.

Anyway, number three should have said:

	3.  For fast accending/decending or decending/accending arpeggios I
	    use a sweep picking technique.

	    The tough part about this one is not making the passage sound
	    gliss-picked.   I use my left hand to determine note duration.


Sorry about any confusion.

steve

    re: .4
    
    Oh yes, I *always* use alternating picking.
    
    In fact, for most of the exercises that I do, I do it once in each
    "direction" (one time starting with a downstroke, the next time
    starting with an up-stroke).
    
    If you don't use alternating picking, all the rest of the points made
    here are moot.  You lose far more speed by picking in one direction than 
    any other single impediment I can think of.
    
    It's probably the only aspect of technique the really fast pickers(1)
    all have in common.
    
    	db
    
    (1) There are some players who are very fast put use lots of hammering
        and pull offs to get their speed (Holdsworth, Van Halen, etc.)

    I use a lot of different picking techniques, but I have never given
    them names. I'm curious, however, about some of the techniques that
    have been mentioned here, in particular "circular picking" and "sweep
    picking". Could somebody elaborate more on what these terms mean?
    
    One thing that hasn't been mentioned so far is finger movement. I
    consider picking to be a range of motions from flexing the finger
    tips to rotating the wrist, and on up to movement of the arm at
    the elbow, and even from the shoulder. The larger movements are
    easier to control muscularly as far as speed is concerned, but tone
    quality and expression generally suffer. To me, the difficulty (or
    art, depending on how you look at it) is to achieve a full set of
    movements and speeds over a continuous range. That is, being able
    to shift smoothly from one type of motion to another without a
    noticeable break.

    - Ram

    
    Time to try and get some more input on this....................
    
    I've been playing for 7 months and feel that I have come along quite
    well, *BUT* the main thing holding me back is my SPEED.....I don't
    want to be a totally rad speed freak but I am just too slow at the
    moment. I always use alternate picking and have worked a few things out
    to help my speed (ie. when playing a typical box pattern, say an A
    minor arpeggio on strings B and E I have got used to picking inside
    the strings) but I am still too slow to play anything that I really
    want to play.
    
    	So what is this circular picking stuff? I know about sweep picking
    but it doesn't really seem to fit in with what I am trying to play
    (rock/blues with lots of bends). I have tried playing to a metronome
    and gradually increase the BPM but all it taught me to do was play 
    scales faster..............and if I play a lead all it sounds like
    to me is someone playing scales quickly.
    
    	Any tips on how to be quick and move around the fretboard?
    Obviously practice is the key and I am more than prepared to spend time 
    praticing...but I would like to know that it is worthwhile practice.
    
    J. (becoming thoroughly disillusioned with this whole guitar bit...I
    ain't ever gonna be good enough :-(...)

    
    
    
    Oh yeh, in case anyone was wondering, I call things like....err....
    the solo's in 'It's only love' Bryan Adams, 'Young Lust' Pink Floyd,
    'Hotel California' Eagles, etc,etc.....they are not what I would call
    blisteringly fast, but they are too bloomin fast for me to play......I 
    think if I could play *that* fast....I would be chuffed.
    
    J

    What is holding back your speed.  I.E. what "goes wrong" when you try
    to play too fast: dead notes?  mis-timing? Fingers don't move fast
    enough?
    
    Circular picking sorta means that the thumb and forefinger bend in
    a circular motion as you are picking.  It's hard to describe.
    
    There's also the Eric Johnson technique that involves sorta bobbing
    up and down (digging in to the string as you pick it and then pulling
    the pick away afterwards).
    
    Despite your feelings about it, I would still strongly recommend
    playing with a metronome.  Practice isn't working on everything
    at once.   The purpose of playing scales to a metronome isn't to
    develope you lead style.  It helps ONLY particular parts of your
    playing and I think the most effective use of practice time is
    doing things that concentrate on SPECIFIC things (I'm hardly alone
    in that philosophy by the way).
    
    The purpose of using a metronome is to improve your timing.  Every
    scale pattern has particular "hard parts" (if you will) and typically
    people tend to "slow down" at those points, and speed up again.
    But in the context of music, that tends to sound uneven.
    
    Thus using a metronome (among MANY other things) forces you to practice
    all parts of the scale (tune/lick/etc) at a consistent tempo.
    
    BTW, one hint is that if it gets boring with the metronome, get a cheap
    drum machine and practice to repeating drum patterns.  That can meke it
    a LOT more interesting.
    
    Another purpose to practicing with a metronome is to be able to follow
    a time source rather than use your own.  If you play in a band, you
    should ALWAYS be able to play in good sync with the drummer.  The
    trademark of a poor band is when every body isn't playing to the
    same time reference - the trademark of a good band is that the drummer
    lays day a groove, and the rest of the band hit it exactly.  That's
    what I think is the most sigificant part of that "tight" band sound.
    
    

    
    Circular picking? Ok I think I already do that (well I actually do only
    a half circle).
    
    Thanks for the tips, the idea of a drum machine sounds good.
    
    I don't really know what is holding me back....I feel like I am on the
    edge of a breakthrough but it just doesn't seem to want to come to
    fruition.....I feel like I *should* be able to play faster than I am
    but something is holding me back.............hopefully more practice
    will tip the balance in my favour!
    
    Cheers.
    
    J. (Oh by the way, the pieces I quoted aren't particularly fast are
    they?)

>    There's also the Eric Johnson technique that involves sorta bobbing
>    up and down (digging in to the string as you pick it and then pulling
>    the pick away afterwards).
    
    In his video, he says he got the digging in with the pick from Eric 
    Clapton.  His bounce technique is when he actually bounces (on the
    bridge area) & picks with his right hand.  He also has a piano
    technique that sounds similar to the bounce.  With his "piano"
    technique, he uses his pick and free fingers to pluck all the strings
    of a chord at the same time.  Sort of like playing on a piano ;-)
    
>    Circular picking sorta means that the thumb and forefinger bend in
>    a circular motion as you are picking.  It's hard to describe.
    
    He demonstrates this on the tape too.  The right hand is virtually
    motionless while the thumb picks the surrounding strings in a circular
    motion.  He gets some of his really fast pentatonic runs doing using
    this picking technique.
    
    Mike    

    First off, try not to get down about it!  You can still play slow and
    enjoy playing, y'know!  You've only been playing a short period of
    time, right?  Give it more time, that's what it takes.
    
>    I have tried playing to a metronome and gradually increase the BPM but
>    all it taught me to do was play  scales faster..............and if I
>    play a lead all it sounds like to me is someone playing scales quickly.
    
    There's a couple of points here.  If you can't play the scales faster,
    you probably won't be able to play anything else faster either.  I see 
    developing the techniques required for speed as different then learning
    how to use them.
    
    Sounds like a lot of what you're into is blues or blues based, do you
    also practice blues patterns with your metronome?  That will help you
    in playing that sort of thing.
    
    Maybe something else that would help you toward your desired end in a
    way that you can see is to learn a part from one of the songs that
    you're talking about that you can't currently play up to speed, then
    practice it in time at a slower tempo using the metronome (or a drum
    machine).  Then you can gradually work it up to the proper tempo.  That
    way instead of just playing a pattern, you're playing something you
    like.  I know many people learn songs like this and it works for them
    (how do you thing Jensen got all those d*mn Steve Morse songs down?
    
>    	Any tips on how to be quick and move around the fretboard?
>    Obviously practice is the key and I am more than prepared to spend time 
>    praticing...but I would like to know that it is worthwhile practice.
 
    It sounds to me like you're playing scales in little box forms and not
    working them over the fretboard.  Knowing what you're playing and being
    able to play it in different places on the fretboard is the key to
    being mobile.  Practicing your scales in different ways so that they'll
    move you all over the fretboard will help.  I'm not there yet, but I'm
    improving in this respect!
   
>    J. (becoming thoroughly disillusioned with this whole guitar bit...I
>    ain't ever gonna be good enough :-(...)
 
    Well, don't feel alone.  I almost always think I'll never be good
    enough to play as I want to play.  It doesn't stop me though, because
    over time I've gotten good enough to get by and play *some* things I
    like.  I'm getting better and over time I'll be able to play more of
    what I like.  I'm also realistic enough to know that I'll *never* be
    able to play *everything* I like!
    
    Hang in there, it does get better!
    
    Greg (also WAY too slow!)
                             

      If metronomes drive ya' crazy try this. My metronome allows
    me to plug in an ear phone. I lay down the rythym tracks on a
    cassette (with earhone in one ear, so timing is near perfect).
    Then practice my bluegrass melodies with these rythym tracks.
    Lets you know in a hurry if your playing at a constant speed 
    without the irritating beep beep. 
    Record the rythym at higher speeds as you get better. If
    doing multiple songs, name them, count off or do somekind of intro
    (bluegrass often,'gives potatoes'). This has greatly improved my
    ability to play with others, especially learning to recover after
    flub or getting lost temporarily.  
    
    chuck

I think you have to do a few things to improve your speed.  Some of these are
more important as you start out and others become important as you get the basic
stuff down.

    1.  Play several different scale patters with a metronome.  The old
	tried and true method of increasing the speed gradually *will*
	work, but it will take some time.  Here are three patterns for a
	major scale.  Learn all three, and play all three in all keys using
	a metronome during your practice session.  These fingerings are not
	necessarilly efficient -- they're not supposed to be.  They are
	for improving motor skills necessary to develop timing, speed, etc.
	The last one will help you get started with position shifts.  Use
	strict alternate picking.  Play up and back down.

	E |---|---|---|-4-|---|-2-|---|
	A |---|---|---|-4-|---|-2-|-1-|
	D |---|---|---|-4-|-3-|---|-1-|
	G |---|---|---|-4-|-3-|---|-1-|
	B |---|---|---|-4-|---|-2-|---|
	E |---|---|---|---|---|-2-|-1-|

	E |---|---|---|---|---|---|---|
	A |---|---|---|-4-|---|-2-|---|
	D |---|---|---|-4-|---|-2-|-1-|
	G |---|---|---|-4-|-3-|---|-1-|
	B |---|---|-4-|-3-|---|-1-|---|
	E |-4-|-3-|---|-1-|---|-1-|---|

	E |---|---|---|---|---|---|---|---|---|
	A |---|---|---|---|---|-4-|---|---|---|
	D |---|---|---|---|---|-4-|-3-|---|-1-|
	G |---|---|---|---|---|---|-3-|---|-1-|
	B |---|---|-4-|-3-|---|-1-|---|-2-|-1-|
	E |-4-|-3-|---|-1-|---|-1-|---|---|---|
	
    2.  Do simple exercises, like alternate picking the same note and increasing
        the speed.  Pick different rhythm patterns against the metronome (like
	quarter notes, eight notes, triplets, 16 notes, "fives (five notes per
	beat)", etc.).

    3.  Study your picking carefully to determine where the weak points are.  Is
	it a slow right hand, slow left hand, or poor coordination between the
	two?  When you know what's wrong, develop exercises designed to improve
	it.  If its a slow right hand, do #2 above.  If it is poor coordination,
	do something like that suggested in #1.  If it is a slow left hand, I've
	found that gentle stretching and exercising the hand (using something
	like power puddy sold at local sporting goods stores) will help
	tremendously.  It will also improve your reach.

    4.	Experiment with different picks and use the one that feels best to you.
        When doing this spend at least 4-8 hours on each pick so that you have
	a chance to get used to it before you decide you do or don't like it.
	Best pick in the world for me is a Jim Dunlop Jazz III pick.  (See
	recent hysteria about these in the pick note).

    5.  Abolutely go out and buy a transcription or (or transcribe yourself)
        something you really want to learn to play.  Learn the *whole* song,
	then find the parts that are "too fast" and work on those.  Set a
	metronome at a tempo where you can play it correctly.  Increase the
	tempo until you can't play it.  Back off to where it is right at the
	edge of your ability.  Play it a number of times at this speed.  Then
	leave it alone for a day.  When you come back to it, you'll try to go
	past where you last left off.  Please note: you should be warmed up at
	this point, don't use this as a warm up exercise.


That's basically what I do.  It has taken me 7 months to get Tumini Notes up to
tempo.  I will probably never play that song live, but just learning it has
improved my picking speed tremendously.

steve

    
>    Oh yeh, in case anyone was wondering, I call things like....err....
>    the solo's in 'It's only love' Bryan Adams, 'Young Lust' Pink Floyd,
>    'Hotel California' Eagles, etc,etc.....they are not what I would call
>    blisteringly fast, but they are too bloomin fast for me to play......I 
>    think if I could play *that* fast....I would be chuffed.


Jason,

	Your request for help deserves more than the time I have given this 
reply...but your example of *too fast* tunes linked with your seven months 
playing experience, gave me the following thoughts........

1. Hotel California. The solo. I like Joe Walsh and consider I can copy his 
style *fairly* well. Have you grasped hammer-ons and pull-offs ? although Joe 
has a fluid blues/funk based style it may be you are approaching your playing 
in too linear ( ie like scales) fashion.

2. Pick and fingers. Left hand position and the fingers used will result in 
less rapid hand movement. This will make faster fingering possible. My guess
is that you are tending to move your hand all over the fret board in a jerky 
fashion rather than using an economical method that keeps the hand centered 
around a few frets ( general rule #1 !) Probably a better understanding of how
they get around the fingerboard will increase your speed.

3. To circular pick or not.....understand what constitutes circular picking 
and this may help you in some circumstances....but the golden rule is "apply
it if it works" !!

4. Still guessing.....judging from your choice of records you are going for 
feel playing rather than speed ( ala Malmsteen et al). Good choice in my 
opinion. Practice your scales to understand what is underneath the music not 
for dexterity (general rule #2 !) 

5. Back to Joe Walsh.....most of his playing is based on interpretation of 
blues licks and the music lends itself more to increased speed after 
practising.  Get yourself an arsenal of blues licks copped from records or 
self teach tapes. Most faster blues licks are based on hammer ons (see 1. 
above ).  general rule #3 !
These are the single most important technique for increasing your speed 
( IMHO ).

6. General rule #4.....the most important one.....speed is an nth by product
of a good guitarist....taste...tone...feel....may not be the top three but are 
ahead of speed. Joe W and Dave G have feel. Listen to how they bend and phrase
in the context of a tune....get this right first or your speed will sound like 
a sequencer.

7. Get the Keith Wyatt or Don Mock video (blues/rock and Jazz rock 
   respectively). I wish I had after seven months of playing !!

Good Luck !

Dave
  

>             <<< Note 346.15 by STRAT::JENSEN "Tone == JCM 900" >>>
>                              -< 5 easy :) steps >-
    
    Steve, I really appreciated you entering that!  I've also been working
    on my speed so it was great timing (you would be a great teacher, if
    you're not already).
    
    Steve Morse had something in his column a couple months ago that I've
    been trying.  He basically said not to advance your speed (or
    metronome) until you can do the lick 10 times without error.  It has
    helped me so far.
    
    Mike

    
    Hey what can I say, I'm gob-smacked, lots of real good sounding advice,
    I've extracted all these and you can guess what I am doing when I get
    home tonight!
    
    Seriously, thanks guys, there is a wealth of knowledge out there and
    everyone is prepared to help out.............magic.
    
    Thanks
    
    J. 

    Steve Morse has written a lot of stuff about speed (and practicing
    in general) which I think has helped me a lot.
    
    Regarding speed, what a LOT of people don't realize is that if you
    don't PRACTICE it correctly, you'll never be able to PLAY it correctly.
    
    For most people this means simply that when they practice a riff, they
    play it TOO fast, which causes them to make mistakes as they play
    it.  By making these mistakes over and over, they are essentially
    learning to play it with those mistakes.
    
    The whole idea of practice/repetition is to learn the correct movements
    to the point of them feeling somewhat "natural" or "automatic".
    
    More Morse tips, I asked you (J) what is holding back your speed and
    you replied sorta esoterically, when the answer I was looking for
    was more specific (dead notes, hand cramps up, etc.).
    
    I asked that for a reason - there are different things you can do to
    address the SPECIFIC problems that a particular player may have.
    
    More from Morse:  when you're trying to learn a song, you don't want
    to want learn it by playing it from start-to-end.  You want to break
    it down into smaller components and repeat them.
    
    If there's a particular part of a particular lick that you're having 
    trouble with,  practice ONLY that part.   What Steve recommends
    (and what I do) is to make a repeating phrase out of it (often 1 bar
    long) and just play that over and over again.
    
    You will never be able to correct particular problems such as these
    if you just play those parts once every time you practice the song.
    Your fingers won't learn how to correct the problem if the last
    time you made the mistake was three minutes ago.  You have to
    do it again within seconds.  That's just how it seems to work.
    
    Muscle memory theory applied to music - that's really all it is.
    

    Hey J, something Dave said in .19 made me think of something that might
    help with your speed problem.  You talked about having worn down frets
    in just a few months?  That is probably an indication that you're
    playing very hard.  I found that playing hard like that makes playing
    fast very difficult.  Try playing lightly (fretting hand string
    contact) and it'll help your speed almost instantly!  It really doesn't
    take much effort to hold the string down on the fret.

    I know this helped with my speed.  I'm still no speed demon or anything
    (not even close), but I used to fret really hard.  One day I was
    watching someone I liked playing (don't remember who) and noticed that
    their hand just kind of danced over the fretboard and was thinking 'I
    wish I could play like that'.  Anyway, just for grins I tried it
    (mostly to get the motion, not really trying to play like that) and I
    noticed that my speed improved.  I've worked hard on playing with a
    lighter touch ever since and have found that my speed has dramatically
    increased.

    Maybe this will help you!

    Greg

    
    
    Wow! The good ideas keep coming!
    
    Re -1   Good point there Greg, I think that most of the fret wear came
    in the first few months, the time when I was really fighting to get 
    to grips with the thing, I think I have backed off a bit on the
    pressure I use now, however that does bring up an interesting question.
    
    Last night I thought to hell with practicing things or worrying what
    things sounded like, let's just make some *NOISE*, I was trying to 
    play all over the neck  but staying in Am/C.......I suceeded to some
    degree but I did notice that when I was trying to put some feeling
    into what I was doing the pressure I used on the fretboard went up
    quite markedly.
    
    IE. If I was playing pretty tinkly things my hand stayed nice and
    light. If I tried to get across an angry or agressive sounding run
    my agression channelled itself to my fingertips and low and behold lots
    of tension in my left and right hand.
    
    So how do you get across feelings like anger etc while just tickling
    the guitar neck?
    
    J.
    
    PS. Now I have jusr read this I think that is the answer to the
    question Dave asked regarding what is slowing me up, I *can* play
    melodic things as quick as I want, as soon as I try a fast run/lick
    with some balls in it.....everything seizes up.
    

    Re: relaxing
    
    Another point that hits home.  The first time I heard this advice was
    about a month ago when I received the Eric Johnson video.  He says if
    he relax, you'll play faster.  Especially on the fast runs.  EJ said
    most people have a tendency to hold their breath when playing a fast
    lick.  He said to breath normally and relax, and you'll play
    faster/better.
    
    Mike

    Something that you didn't say in your note is 'how fast is fast'?
    When you're playing 16th notes at 120 MM, do you consider that
    fast?  Most folks play bursts of notes at speeds greater than
    (say) 160MM.  These bursts are single string or adjacent string
    patterns that can be executed rapidly, even though to sustain
    16th notes at that tempo might really be difficult (It certainly
    is for me, although I know that some folks can do it.)
    
    Bluegrass style fiddle tunes (on acoustic) require 16th notes
    at 132MM generally.  That's a good goal to set.  Learn the tunes
    at 112MM and gradually increase the tempo until you're playing 
    perfectly at 120MM +.  
    
    The next thing... nobody plays the same licks at 160MM that they would
    play at 112MM.  Some of that is style/taste.  Some of it is just
    practical.  You just cannot execute some licks cleanly above certain
    tempos - and obviously that certain tempo is sys$specific. (if you will
    allow me to mix metaphors here).
    
    I spend some portion of a practice session doing 'speed' type study.
    This means setting the metronome at a fast tempo (e.g. 176MM ) and
    try to play the bursts, sustain the normal picking pattern on a single
    string (no left hand involved, just alternate picking on the high E and
    really focus on the right hand).  Then back it down to 156/144 and 
    work some of the more difficult pieces.  It takes a long time (hell,
    I've only been doing this for a year or ), but gradual progress is
    the key.  Keep at it.  Relax.  Hold your mouth right. (e.g. relax).
    BTW, on acoustic, you really need to work this technique, as you don't
    get the sustain and touch that you can from an electric, meaning that 
    you HAVE to pick almost every note to get the clarity and power that
    are required.
    

    I've been on a speed mission lately.  Something I've noticed that has
    helped me right away that might help others:  too much finger travel
    with the left hand.
    
    What I've been doing to correct it is go thru my practice routines
    while standing against a wall.  This forces you to keep your fingers
    low to the neck.  After doing this for a while, I feel like my speed
    has improved some (others have commented about it too).
    
    Of course, don't let anyone see you doing this.  Its quite an unusual
    sight ;-)
    
    Mike

>>    What I've been doing to correct it is go thru my practice routines
>>    while standing against a wall.

    Let me make sure I've got the picture right.  This is nose-to-wall,
    right?  Butt-to-wall probably won't work :).  Sorry, just struck me as
    funny.

    This sounds like a reasonable approach. I've been wondering about my
    left hand travel too, but hadn't come up with a way of forcing limited
    travel other than, "concentrate, Steve, concentrate".

    Warning: I think in general, the 'limit movement' approach is something
    you do to fine tune an otherwise excellent technique.  Someone just
    starting to do speed work is probably better served worrying about
    right hand technique, whether they're playing the line in an awkward
    manner (wrong place on the neck), etc.  I guess what I'm saying is that
    if you have no right hand, or play everything in a silly position,
    minimizing the up/down travel of your left hand fingers isn't going to
    help..   But if you can already play 'fast', this sort of thing may
    bring you that extra n%.

    steve

    This is really ANNOYING ME...
    
    My left hand can move plenty fast on its own but I *still* can't get any 
    speep AT ALL with my pick. I can't understand it. I've sat for hours with 
    a metronome and exercises and scales but I still can pick particualy
    quickly.
    
    My 'technique' comprises of :-
    
     o  Use slight wrist movement, minimal arm movement 
     o  Have my palm anchored on the bridge and my fingers 'out' (al la
        Lynch).
     o  Hold pick parallel to string using only the very tip of the pick
     o  Use alternate picking but use 'economy picking' when changing 
        strings.
     
     Any help ?
      -Tony

    
    
    Take a big pile of amphetamines? ;-)
    
    (just joking by the way for any humour impaired....)
    
    J
    

    
    re: .26
    
    I get past it by not picking very many notes...;-)
    
    guy

    Re -.2: I keep all fingers tucked under my palm.  The shape I achieve
    is something like holding a fishing rod or the like.  My thumb rests on 
    the first section of my index finger and the pick, a tiny hard mandolin
    pick, is trapped between thumb and index.  My contention is that this
    creates a more compact mechanism for picking, leading to quicker
    movements.
    
    One other thing I do to pick up the speed is angle the pick relative to 
    the string. It makes the strings 'grb' the pick less.

    
    I am ridiculously slow but have improved my speed/accuracy by 
    praticing my alternate picking.

    I play like Clapton now, so I don't have to worry about speed, etc.

>    Let me make sure I've got the picture right.  This is nose-to-wall,
>    right?  Butt-to-wall probably won't work :).  Sorry, just struck me as
>    funny.
    
    Yeah you have it right Steve.  What's even funnier is the time my
    father-in-law walked into the room the first time I tried doing this. 
    Here's Mike flat-out against the wall, running some scales, with Dad 
    standing there laughing and wondering what the hell that kid's doing now...
    
    Mike

    I've always been a 'slowhand', and after 27 years of playing, I'm still
    discovering how challenging it is to play slow, easy, and tasteful
    licks and REALLY make them sound GREAT!  There are so many licks hidden
    in the major and minor scales that don't require speed, but do require
    a ton of talent to get real expression out of them.  I keep listening
    to SRV's "The Sky is Crying", and think, "man, his notes-per-second
    ratio is an all time low, but if I could only do those crying bends,
    and get that screaming, wailing sustain/tone...if only"....I still say
    to really play the blues, it's gotta come thru yer fingers from deep
    inside yer soul....
    
    Not knocking speed, bud, if that's yer goal, go for it!  I admire the
    fast guys, especially the ones who make sounds that inspire the right
    moods (Steve Morse)....Satriani and Johnson aren't really my style, bit
    I am an old fart...guess that explains the blues thing....
    
    Steve (enuff rambling..)
    

    re:.26

    Without watching you very carefully, it is real hard to give advise on
    right hand technique.  There are many examples of people who have
    unorthodox right hand technique, but can really scream.  Steve Morse
    comes to mind....  Of all the characteristics of your technique, the
    one that kind of bothers me is:

>>     o  Have my palm anchored on the bridge and my fingers 'out' (al la
>>        Lynch).

    Now, I know 'ol George can play, but *anchoring* the palm of your hand
    on the bridge while trying to alternate pick seems like it may be part
    of the problem.  I suspect you're always fighting the anchor when
    trying to move.

    I'd suggest trying a more relaxed right hand.  Instead of splaying your
    fingers out and anchoring the palm, try *resting* the palm ever so
    slightly on the strings just up from the bridge (or whereever is most
    comfortable for you) and allowing your fingers to curve naturally -
    sort of like they do when you relax your hand and old it out in front
    of you...  This may take some time to get used to because you'll miss
    that solid anchor point and feel 'lost' when skipping strings, but some
    practice will bring that around.  

    You can easily compare this with your current technique (in terms of
    speed), by blazing away on one note.  I'll bet after a week or two of
    practice, you can blaze unanchored a lot faster than when anchored.

    DISCLAIMER: It's real hard to make accurate suggestions via notes.
    This is one of those things you have to look at very, very carefully.

    Good luck!
    steve

    Re .29:

>>    One other thing I do to pick up the speed is angle the pick relative to 
>>    the string. It makes the strings 'grb' the pick less.

    I gotta disagree with this.  I used to do this too, but decided it was
    broken because it just *kills* the tone.  Tone immediately comes out
    all wimpy and articulation suffers.  Better to use a Jazz III and learn
    to use the 'right amount' of pick so the string doesn't grab it. 
    Angling the pick, etc., is great for special effects, but I just don't
    think its a good idea all the time - or when ever something gets
    fast...

    Just my 2�..
    steve

    I have to agree with Steve on the pick angle thing.  That's something
    he noticed in my playing and suggested that I change.  It really does
    make a big difference in the tone you make.
    
    Greg

    
    Well, I achor my hand on the bridge as I find it allows me to pivot my
    hand to get accros/skip strings. Maybe I need to relax my hand. I can
    play very fast on one string and I can switch strings quickly too, but
    I can't link them together to get long flowing runs unless I use
    hammer ons/pull offs (which is a different technique altogether).
    
    -Tony

    
    
    
    	So d'ya all reckon that anchoring my pinkie andpivoting around that
    	may well be slowing me up??? I got used to doing that when I got
        into finger picking a while back.....a completely free floating
        hand is the best way to go yeh??
    
    	J

    
    Definatly!
    
    You should rest your plam heal somewhere (your preference) but having
    your pinky or any finger in contact with the guitar will surley slow
    you down. Its kinda weird but you still get used to it.
    
    Now, if only I could pick quickly myself!

    
    
    rest the heel of my palm somewhere.....like where? Lightly on the
    strings? I had a bash lunchtime and I seem to have more luck playing
    the free floating way with the fleshy bit of my hand near the wrist (on
    the little fingers side) just sort of brushing the strings I'm not
    playing....how's that? Anygood? Also whats preferable for speed, I
    found I could either use my wrist of my whole forearm for the picking
    action (the whole forearm being a little more tricky to control).
    
    	So what d'ya recommend?
    
    J

Robert Fripp did a whole series of articles on "Guitar Craft"  (which covered
things like this) in Guitar Player magazine a year or so ago. He reckoned the
picking hand should not touch the guitar at all.
I have to say I found his writing "style" somewhat pseud and at times
incomprehensible.
*DC

	Tuck them fingers under.

	Ever see a nurse shake the mercury into the base of a thermometer?

	Ever see one do it with fingers splayed out?

	Why not?

	With the fingers out, some of the energy sent to the hand is
	wasted on moving the outstretched fingers. With fingers in,
	all of the energy goes into the thermometer. Try it.

	Your pick should be like the thermometer. All of the energy
	should be used to move the pick, not extra outstretched fingers.


/chucko

    I think Fripp is probably correct.  *HOWEVER* I find it hard/impossible
    to always play with a free floating right hand.  Besides, I use the
    fleshy part of my right hand as part of my muting technique (my left
    hand also plays a big part in muting) and so sometimes it has to rest
    on the strings.

    I *think* that when I play extremely fast alternate picking my hand is
    essentially free floating over the strings.  The reference point is up
    near my elbow (boy this is hard to explain) on the guitar body.  I'll
    pay attention during practice tonight to see if this is correct.

    steve

    
    .42
    
    Good point. I tried it last night and it felt weird!
    
    I have my fingers outstretched because I had a bad habbit of anchoring 
    them on the guitar, so by stretching them out and anchoring my palm 
    instead was a good cure.
    
    I guess I just gotta undo another bad habbit!

    
    
    	Well I had a good workout with this last night and yep I can see
    the advantages.....feels kinda strange tho but there's already an
    increase in speed, I just have to be careful not to get to carried away
    with my arm motion otherwise I've found my whammy starts 'bouncing' and
    all the notes have a wierd twang to them....
    
    J

    Yup,
    
    But then that helps to keep your picking in control and more
    'focused'.
    
    -Tony ( wax on, wax off, Daniel-son 8^) )

    
    	I'll bet B.B. splays his fingers when he shakes a thermometer!
    
    	;^)

	I think he uses 'em as counterweights.....

    
    I've been relaxing my hand and sort of 'tucking' my fingers in (al la
    Frank Gambale) and its a considerable improvement in terms of comfort 
    and 'feels right'. Haven't had the time yet to put some serious work in
    on it yet but I intend to this weekend.
    
    Doesn't look as cool though as the Lynch approach ;^)

    
    Well, I've tucked my fingers in and worked with a metronome and got a
    bit quicker but not much. The following is an example of what I can
    reach with a Paul Gilbert exercise :-
    
    With metronome set to 120 :-
    
       BEEP              BEEP		   (etc...)
    
    E|-12----------------12--------------------------------------
    B|----15-13-12-13-15----15-13-12-13-15-----------------------
    G|-----------------------------------------------------------
    
    This is pretty quick, but I wouldn't put it in the 'got picking down to
    a fine art' league.
    
    Any more hints tips or observations ?

    -1
    
    A variation I use on a "paul gilbertesque" excercize:
    
    With metronome set to 120 :-
    
      BEEP       BEEP               BEEP
    E
    B
    G
    D-----------------------------------------2-4-5-4-2           (etc.)
    A------2----------2-3-5-3-2----------2-3-5---------5-3-2
    E-2-3-5-5-3--2-3-5---------5-3--2-3-5-------------------5-3--
    

    Err.. May be a bit quick for me - I'll try it at a slower pace first
    methinks.

    re .51
    
    	But I thought you weren't worred about speed anymore Buck since
    you started playing all Clapton stuff,..??? ~!!! :-) :-)
    
    	By the way,.. thanks for going over Layla with me :-) :-)
    
    							/Billic_Catpun