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  1. #26

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    An attempt at DWPS. Trying to Stop the Hop.
    The camera is further up the neck for this one, closer to the neck pickup.


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  3. #27

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    The problem is people are trying to control their pick hand. String hopping comes from the reasonable concern not to hit the wrong string. However, it makes for that inefficient movement 9/10 times.

    The nice thing about pickslanting is you use the guitar strings to control your picking.

    However, it's still a big psychological leap to stop trying and avoid hitting the next string over. DWPS picking is about deliberately contacting but not playing the next string over, so that's the way to go I think; learning that contacting the next string is a good thing.

    So my suggestion is work on rest strokes mindfully for bursts of about 5 minutes a few times a day until they just happen.

    It reminds me of my singing days. Many student singers try to control their voice from the throat. To sing well actually feels a bit wild and uncontrolled.

  4. #28

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    The hopping is not necessarily a bad thing, isn't it. It supports consistent alternate picking - smooth and even attack, works better with string skipping. It can be optimized to the minimum of just clearing the strings. To me it is a really good default way.

    It all really depends on sound one is after. Other techniques have their own strengths and sound - learning them requires a deliberate effort and it takes time.

    For the rest strokes I too found it helpful to really exaggerate: steep angle, relax the grip and push the pick through the string aiming for a percussive click from the next one. Another little trick is to focus initially on downstrokes only - picking only down, noticing how little effort is required to prepare for the next downstroke when the pick bounces off the next string. Then keeping this relaxed feeling make the return motion to go through the string adding upstroke.

    Even more on rest strokes I got from chord etudes of Leawitt - they pretty much require it. The man is a mountain, his book seems to contain everything regarding technique in a condensed form. Gypsy picking, pure alternate picking, dud dud triplets - all is there.

    Sorry for truisms, just don't quite get why be upset about what to me is a fine way to pick

  5. #29

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    Does the Pick Stick work like a mirror, something to use to watch the way you pick AS you're doing it, or is it a video camera that allows you to watch they way you pick AFTER you've done it?

    I'm getting a stiff neck from watching the way I pick (I don't like using a mirror, because I can't get the same angle as I do when I just look down at my RH).

    I tried pick slanting on the descending dim. arp idea that Steve Vai played in that Ralph Machio movie that Troy Grady did a vid on, and it seemed like something that is very hard to control at fast speeds. I decided to just work on the descending arp idea on my own by just gradually raising the tempo, and can play it cleanly at over 300bpm. I don't know if I'm doing any pick slanting. At that tempo it seems impractical to think that you can consciously control so many minute pick movements.

    I practice Paul Gilbert and other's picking exercises, but i don't think about pick slanting, at all. I just gradually raise the tempo till I can play the triplets at 200bpm, and the 16ths at 320bpm.
    I;m not looking to be a shredder.
    Last edited by sgcim; 02-28-2021 at 04:44 AM.

  6. #30

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    Quote Originally Posted by sgcim
    I practice Paul Gilbert and other's picking exercises, but i don't think about pick slanting, at all. I just gradually raise the tempo till I can play the triplets at 400bpm, and the 320bpm.
    I;m not looking to be a shredder.
    Triplets at 400bpm, isn't that insanely fast?

  7. #31

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    Quote Originally Posted by sgcim
    Does the Pick Stick work like a mirror, something to use to watch the way you pick AS you're doing it, or is it a video camera that allows you to watch they way you pick AFTER you've done it?
    It depends where you place it on the neck. If you put it where the neck meets the body, then you won't see much as you play. (At least, I don't, but one can see that one's hand is in the shot.) The further back toward the neck you mount the device, the more you can see WHILE you play (but what you see RECORDED won't be as up-close because the camera is further from your picking hand.)

  8. #32

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    Quote Originally Posted by sgcim
    8th note triplets.
    That is 20 notes per second which puts you on top of this list My List of Fastest Alternate Picking speeds | Michael Angelo Batio Forum above Shawn Lane with 18 nps. Enviable

  9. #33

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    In my experience a Dwps technique almost always gets an improvement in string skipping accuracy over string hopping

    I put down to the fact that the pick isn’t trapped and is free to move but you are also getting positional information from the pick contacting the strings. Things like cross picking open voices triads (see the Chico Pinheiro thing above) become reliable and straightforward at moderate speeds. Even descending arps!

    And by the standards of Paul Gilbert/sgcim reliable moderate tempo playing is really out main area of concern as jazz guitarists.

    Even at faster tempos - my feeling is blazing picked eighth note lines need to be used sparingly at 300+, the machine gun effect is not really the aesthetic to my ears.

    That raises different challenges

  10. #34

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    Quote Originally Posted by sgcim
    8th note triplets.
    im not sure I could do that. Then I’m not entirely sure that’s on my list of priorities.

  11. #35

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    Christian, you’re so British!!


    Sent from my iPad using Tapatalk Pro

  12. #36

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    Quote Originally Posted by Danil
    That is 20 notes per second which puts you on top of this list My List of Fastest Alternate Picking speeds | Michael Angelo Batio Forum above Shawn Lane with 18 nps. Enviable
    I just finished practicing my triplet exercises, and I realized I'm only doing three notes per beat, NOT six notes per beat. So I'm only doing TEN notes per second. Putting the metronome on 200bpm is so fast, I can't even count correctly. Usually I put it on much slower tempos when I'm doing 16th note scales, arps and exercises, so I have trouble counting at 200bpm.
    That should prove I'm not on the shred level of those guys, and never will.

  13. #37

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    Quote Originally Posted by fep
    Triplets at 400bpm, isn't that insanely fast?
    No, I was mistaken. It's triplets at 200bpm. I can't even count at that tempo.