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Originally Posted by znerken
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10-08-2018 12:22 PM
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Originally Posted by christianm77
1. Sometimes the pick feels strange to hold. It’s like it’s not natural. This can be especially felt when moving onto new pieces in the Modern Method book.
2. Hitting the string(s) I want to hit. Not missing.
3. Sometimes my fingers hit strings
4. Too much of the pick hit strings sometimes
As I said, I feel all of this gets better as I play more and more. Especially after I started the Modern Method. Even though there has been days where I have felt picking is hopeless, cause of that book. I guess after 10k hours it becomes a natural part of my body.Last edited by znerken; 10-08-2018 at 01:06 PM.
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Originally Posted by znerken
I'm an advocate of rest stroke picking - it's very good for certain things including string skipping because it gives precise positional information and feedback. The bedrock of this approach is the apoyando down stroke with the pick - bring it into contact with the adjacent string.
Alternate picking - I've always found strict alternate picking with a floating wrist very difficult. I don't know if that is what is suggested in the Leavitt book?
Alternate pickers always seem to moan about string skips. But there are guys in Nashville who can do it really really well. I think it is a harder technique?
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Originally Posted by christianm77
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Yeah it's easy to see how it happens. It's just lazy alternate picking lol.
Happened with me. I remember the first time I practiced with a metronome, I was seeing how fast I could play a 3nps scale. I found I could play 16ths up to 200 bpm! Wow, I thought, I must some natural alt picking genius.
Of course, I was economy picking it without realising.
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Like Christian, I've spent very little time on picking exercises, preferring to use bop heads as etudes. However, it doesn't hurt to give them an airing occasionally as a warm-up before a gig or practise session. Here are a few that I've found useful in various ways:
Adam Rafferty - “How to Develop Virtuoso Single Line Technique for Jazz Guitar” (based on “The Virtuoso Pianist" of C. F. Hanon)
An excellent 3nps adaptation of the first Hanon exercises:
Guitar Books - Adam Rafferty
Miles Okazaki - “Fundamentals of Guitar”
Contains a chapter on 'symmetrical picking' with exercises borrowed from drum patterns, e.g. flams, paradiddles:
Book | MILES OKAZAKI
Alan Hanlon - “Kreutzer Violin Studies”
A popular workout used by Vic Juris and many others that has been out-of-print for years but made available by one of his students:
http://www.bachmansmusic.com/wp-cont...zer-Etudes.pdf
Last edited by PMB; 10-08-2018 at 06:35 PM.
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Interesting! I thought I had a vague memory of that.
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Lots of interesting ideas here. Thanks, Paul.
Originally Posted by pkirk
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It sounds like this is what you’re looking for:
Complete Book of Guitar Technique Book - Mel Bay Publications, Inc. : Mel Bay
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Originally Posted by ronjazz
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Originally Posted by christianm77
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James Hetfield agrees with me about downstrokes
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Originally Posted by christianm77
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Originally Posted by znerken
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I am looking at Mel Bay's Modern Guitar Method 2 and a lot of the pieces are notated to use all down strokes. For some of the exercises he suggests to perform them with all down strokes and then alternating.
For triplets, he sometimes suggests to use all down strokes and other times to use "down up down" so that every triplet is started with a down stroke, except sometimes when changing strings he notates to use "down down up", for instance when playing f g a in the open position.
What I get out of all of this is that Mel Bay is teaching a picking style that emphasizes down strokes. He almost always uses down strokes when switching strings so alternating is mostly limited to playing notes on the same string.
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Corey Christiansen wrote these Killer "fill in the blank here" books ($5) when he was with Mel Bay, then they were combined into a larger book. There was one called Killer Technique that had good warmup drills for the right hand.
But volume 1 really helps all by itself, too.
Happy hunting.
Enharmonics
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