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Very good points. I don't know of anyone who uses rest-strokes with triplets, especially if the triplets are fast. There's always an exception; someone out there is probably doing it, but I'd say it's very rare. Free-strokes with triplets, keeping the pick as close to the string as possible to facilitate the picking. Just my take on it here.
Originally Posted by frankmaurer
Regarding the first part of your question, I'd say you could start the picking either way, but most would start with a down -- and then play the quarter note on beat 2 with another down. This is little different from "type 1" triplets," wherein you have two downs in a row. In the big scheme of things, it doesn't really matter. Pick the note in time and that's the important thing. But my guess is that Leavitt would say do the triplet "down-up-down" and then the quarter note, "down." My best guess.
Welcome to the group!
kjLast edited by Kojo27; 10-23-2012 at 06:36 AM.
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10-23-2012 06:07 AM
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Thanks. Originally Posted by Kojo27
As for the rest stroke, I really struggle with this. But according to the DVD (dotted 16th) even sixteenth notes are supposed to be played with rest strokes! I wonder if this is possible at all if it gets to faster tempi!
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A dotted 16th...wow, I think the rest would be imperceptable.
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Can you point me to where Baione says this on the DVD? I'm definitely screwed if he expects me to play 16ths with rest strokes! Originally Posted by frankmaurer
It might help to think of the stroke more as letting the pick "fall" through the string. There's a gentle push sometimes, as when starting a phrase with a rest stroke, but in the rhythm of playing along in a melody, it really is, at least in part, a feeling of just letting the pick fall, from weight of the right hand & arm, gently "through" the string, to land on the next string toward the floor.
If this seems to complicate things, just forget it. /// The rest stroke is one of those infernal things that's tricky at first, but once you get it, you wonder how you ever could have struggled with it. I still make mistakes in executing it, but seldom. It's a wonderful pick technique, absolutely worth learning, so just stick with it - don't work to the point of frustration, just know that it will eventually work for you.
kj
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Sorry, I have been offinle for a time. To tell the truth I didn't play for about 3 weeks. Just felt I'll never be bale to play at all! But anyway I'm back. I'll look up tghe exact lesson in the DVD when I get home.
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I believe Baione plays the sixteenth note exercise on page 31 using rest strokes. I can`t even imagine myself doing that. The faster rest strokes I can play is with eight notes at 60 bpm. I wonder if it is really worth spending so much time in order to master this technique. What do you guys think?
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Hi Marcos, Originally Posted by Marcos Vinicius
To answer your question quickly: YES. The rest stroke is, I'm now of the opinion, almost essential for pick-style lead guitar. It shows up in other "technique-heavy" (fast and difficult) guitar styles, like Gypsy jazz and bluegrass flatpicking. Because it works!
"Fep," the guy who masterminded this study group, says now that the most valuable thing he got from completing Vol. 1 is the rest stroke. I'm pretty comfortable with it now (finally!) and agree. I wouldn't trade being able to use it for anything. Don't let the DVD guy discourage you; he's a 35-year veteran of this stuff. Give yourself a few months for it to start feeling natural and in control.
If you just can't do it with the sixteenths, don't. I agree with you that he's taking it pretty far with that. The rest stroke shows its real value when strumming chords and coming to rest on exactly the string you want - say the third string, rather than always strumming through. The rest stroke also allows you to play with about 5x the volume of a free stroke - for emphasis there's nothing like it. You can break strings easily with this thing. Use a heavy pick and practice playing the easiest scale (or whatever) that you know, as quarter notes. Rest after every note. Make this something you do several times a day, just half a minute or so each time. It's how I did it, along with the exercises in the book. Just don't sweat it, but don't discard it. It's too valuable. It'll come with a bit of time.
kj
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Welcome back, Frank! It does get overwhelming sometimes. Hang in there and all this stuff will be easy (or easier) before too long. Playing guitar is HARD. It's why so few can really do it, but they're the ones who didn't quit. Originally Posted by frankmaurer
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Thanks for answering Kojo. I`ll follow your advice, practice quarter notes first. I`m really struggling with this because I notice that I have to change my picking (arm)motion completly in order to do the rest strokes. My natural way of picking is more like rotating the arm, wich seems impossible to do with the rest stroke technique. When doing the rest stroke I noticed I have to do what someone described as a "waving bye bye" motion. But I`ll keep practicing this. Thanks again.
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P35 Key of F Major:
p35 Rythm Accompaniment ex1
https://soundcloud.com/giant-laser/a...-for-guitar-21
p35 Rythm Accompaniment ex2
https://soundcloud.com/giant-laser/a...-for-guitar-22
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Here's the rest for tis section: I have the impression that only the first widget that I would copy/paste in this editor will actually display the widget. I'm going to try and paste the widgets in a row see what happens.
So that's p36 - Duet in F, p37 - The Triplet Exercise and p38 - Waltz in F respectively
https://soundcloud.com/giant-laser/a...-for-guitar-24
https://soundcloud.com/giant-laser/a...-for-guitar-25
Obviously didn't work out either. Oh well
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When you are practicing the triplet exercise with the alternative picking method, and there is a quarter note after a triplet, which ended with a downstroke, should the quarter note be hit with a up or a down stroke?
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I would assume down. The truth is you eventually need to be able to do several ways, especially with triplets, but focus on one in the beginning maybe. Originally Posted by znerken
When you are practicing the triplet exercise with the alternative picking method, and there is a quarter note after a triplet, which ended with a downstroke, should the quarter note be hit with a up or a down stroke?
Eventually higher tempo would demand upstroke there...
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I would have said the same thing as Matt. I have played the study on page 37 for years.
But I had to check it. I use upstroke. Feels good.
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Yeah. Triplets organize differently. Once you get past basic exercises ... or playing "all triplets", you're going to have to deal. The math simply doesn't add up cleanly. Down–up is two components. Triplets are 3.
A lot of people in jazz and Celtic advocate DUD DUD for triplets. It's a good technique to work on, but it's just one among several approaches. It becomes much more difficult to stick with, once you start adding ties or rests etc. At that point, it becomes a much more arbitrary organization and starts to feel pointless. I've played around a ton with the triplets for the last three or four years, and I basically use strict alternation as my reference for playing them.
The 3 thing is difficult enough to get around with straightahead triplets in traditional Western music, ...but in jazz... you also have triplet rhythms where the accents don't fall on the first triplet or various syncopated patterns and poly rhythms using triplets differently.
Anyway, I'm derailing... For now, I would choose one and just do it. Eventually, try other ways. There really isn't a "right answer" as far as I know, at least not in the way that there would be if we were talking about eighth notes or something.
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