The Slow Technique and the Fast Technique

[girevik]

 

Make a study of Di Meola or Coryell's right hand technique. Also Bereli Lagrene or Andreas Oberg. Much of the technique you are searching for will come from these guys.

 

 

This works if you have an intuitive understanding of their picking motions - that is, you can grasp the exact mechanics of the hand and forearm motion just by watching them, and them not saying a word. I could not do that. I needed to see somebody demonstrate the circular picking motion from this camera angle before I could understand:

 

[video=youtube;LcNhPxsxNNY]

 

Some of us naturally gravitate to the locked-wrist picking technique when we start out playing the guitar. To deviate from that picking technique is not as easy for us as it might be for you or others like who who can watch McLaughlin a couple of times and get it instantly. Like I said, it took me at least a month of focused open-string picking practice to switch over from the locked-wrist style to the style taught by Pebber.

[1001gear]

If you had a multi plec you can sweep a single string. Maybe one you could rotate single, double, triple pluks etc. The speed would be a given - like drumming and the attacks might be more consistent - unlike drumming.

[girevik]

 

I think I've mentioned here before, but working on Sarod picking from the Pebber vid's that Girevik posted had a MAJOR impact on my picking. My previously "locked" wrist unlocked like magic.

 

 

I forgot that you'd mentioned it, actually. I found Pebber's stuff when somebody asked about sarod picking on another forum. I wasn't, and still don't aspire to be, a "shredder", but I was in a post-rock band at the time, and sustained tremolo picking fwas literally a pain because of forearm fatigue. Pebber's teaching provided much-needed relief. Here is an example of this sustained tremolo picking:

 

[video=youtube;IeF9zc533X8]

[gennation]

I know many players (actually students) who I've helped develop THEIR locked wrist technique into a blaze.

 

The actually technique used by others is not the point in this thread...

 

The the point is, don't worry about how others pick, you need to realize YOUR OWN perception of how you pick fast, then work that exact technique from a slow and steady, to gain more control, accuracy, and stamina over it, to making it faster but with the newly developed control, accuracy, and stamina.

 

When a student comes in wanting to gain speed I ask them to play something, they are comfortable with, fast. Then I ask them to play the same thing slow. That's the point where I point out the difference in how they are playing things fast and slow. Then I go on to explain how "practicing slow" DOESN'T mean "use your slow technique" to do it. I make them aware of how they need to use the exact same fast technique when they practice it slow.

 

I NEVER tell a person what technique "they should" be using. I develop their natural comfort zone/perception of how THEY play fast.

 

Once I explain things they understand why they've been hitting a wall on their speed and how most of the time they have ONLY been speeding up their slow technique and completely ignoring the technique they actually use when playing fast.

 

I don't care what direction this thread goes in. We can have an endless thread on other peoples/players techniques, but the purpose of this thread is to get people to notice THEIR technique, and understand how to develop it...and how they may have been completely ignoring it without knowing it.

[brwnhornet59]

 

This works if you have an intuitive understanding of their picking motions - that is, you can grasp the exact mechanics of the hand and forearm motion just by watching them, and them not saying a word. I could not do that. I needed to see somebody demonstrate the circular picking motion from this camera angle before I could understand:

 

 

Now that you have a basic understanding, take that and study the Masters styles that interests you. Finding ones own voice is obviously the goal. Everyone is different and has a different approach and learns the basics in their own way. This is moot and goes without saying. Once a certain level is attained, as in any aspect of music, one needs new valid ideas if one wants to grow. There is no better way than learning as many approach's and internalizing them so that you may emulate whatever you want in your own way, IMO.

[girevik]

 

Now that you have a basic understanding, take that and study the Masters styles that interests you.

 

 

I already told you that I have John McLaughlin's instructional DVDs, as well as instructional materials from other masters. I do study these guys - I have no idea why you think I do not.

 

Now if you would not mind getting back on topic, would you share with us your wisdom concerning the issue of students whose fast picking technique is different from their slow picking technique? What have you done with such students? Have you handled them like gennation has done?

[brwnhornet59]

 

II told you already that I have John McLaughlin's instructional DVDs, as well as instructional materials from other masters. One of my aspirations is to become a guitar teacher myself. I have learned a lot from reading your posts, about the art of teaching.

 

 

Sorry man, I did not mean to sound redundant. As for wisdom? I will tell you how I start them out and get them going.

 

For me all picking starts slow, with a metronome, say at 40 bpm. First being able to articulate every note clearly and in time without mistake. I would have the student start with 1/8 notes, and as they advance keep taking the tempo up 10 bpm at a time. When a student reach's their limits, I will have them stop and back down 10 bpm until they can play it with ease and keep them advancing until they can play the line at speed. This is done daily. Also practicing accents in the same way. First accenting only beat 1. When this becomes second nature we progress through the process doing the same with beats 2, 3 and 4. Then doing the same with up beats. Similarly I would introduce the idea of a rest note on beat one. The regime stays the same etc.. All along developing our right hand development. Then you can start introducing accents and rests together..then you can start working with syncopation etc....

 

The whole idea is as we go through these exercises, slow tempos segue into medium into fast. I personally do not play differently with my right hand when playing slow lines. My phrasing attacks and slurs with my left hand have as much to do with my sound as my right hand. Playing fast lines is a different animal to me, more about precise rhythmic attack with my right hand, assuming the left hand is trained well enough to execute its functions. What really helped me get my right hand technique together was studying Salsa, samba, rumba etc.. The fluidity that can be developed in the wrist playing syncopated rhythms is well worth the effort and fun.

 

There are many other ideas that can be introduced into our rhythm that will enhance our overall playing. But you get the idea. Playing well is an never ending, life long journey to me. Some people take a few ideas that last them a lifetime. Others keep pursuing the Art to the grave.

 

Hope that helped.

[girevik]

Thanks brwnhornet59, we're good now!