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Pro Speed vs. Amateur Speed: What is your Yngwie Speed?
For those who are truly interested in getting the left and right hand to work together, don't spend as much time on the exercises above...they're ok for single string runs, but how often do you play that way?
Exercises 51 to 54 are the best exercises in Stetina's book...IMO. Woodshed those for a few weeks and watch all your other guitar playing technique improve....then take those, and instead of using the minor pentatonic, use different shapes....and the major scale. Great stuff.
For those who are truly interested in getting the left and right hand to work together, don't spend as much time on the exercises above...they're ok for single string runs, but how often do you play that way?
Exercises 51 to 54 are the best exercises in Stetina's book...IMO. Woodshed those for a few weeks and watch all your other guitar playing technique improve....then take those, and instead of using the minor pentatonic, use different shapes....and the major scale. Great stuff.
Agreed, those excercises are great--and if there's one particular picking pattern you're not good at, you'll fint out. It took me along time before I could even play all of those at the same speed.
I can play Far Beyond the Sun except the solo part, so I guess that's my Yngwie speed. It took me many hours of practice. Playing fast is one thing, but playing clean, with a nice vibrato and feel like Malmsteen is on a way better level than mine.
Since you ask, #8 was a killer for me in the beginning. I started at about 30 bpm...I know, you're laughing...that's OK. I'm up to 75 bpm after a couple of months. The other one I'm at 115 bpm. I can start faster, but fatigue by the time I get to the A string.
The Guitars:
Jackson USA SL2H, Jackson Performer PS-4, Gibson Les Paul Studio Gothic, Ibanez JS-1000, B.C. Rich Mockingbird ST, Martin GPCPA5 Acoustic, 14 Warmoth customs, Ibanez Artcore AS73, Ibanez Prestige SR1000EFM Bass The Amps:
Peavey JSX 212 with JSX 412 cabinet, Ampeg B2R with Ampeg Portaflex PF210HE cabinet
None if this matters if you can't can't write for shit. My philosophy for playing..is "go for it".. Whatever it takes to kick the most ass possible...who's countin'?
So, ..Fuggums.
"Bill, Smoke a Bowl and Crank Van Halen I, Life is better when I do that"
Donnie Swanstrom 01/25/06..miss ya!
"Well, your friend would have Bell's Palsy, which is a facial paralysis, not "Balls Pelsy" like we're joking about here." Toejam's attempt at sensitivity.
He can play so fast people die... it's quite amazing. His guitars are custom made by Mr. Ibanez, his pickups are hand-wired by Tony Blair, and he has a piece of equipment that controls the earths rotation.
He even scares Chuck Norris :ROTF:
www.JerryRobison.com
'84 RR, '06 Pablo Santana Soloist,'76 Gibson LP Custom 3 pup,'79 LP custom 2 pup,'82 Gibson XR-1,'89 BC Rich Namm proto, '07 Lauher custom, 86 & 87 model 6, Carol-Ann Amplifiers, Marshall amps, Keeley pedals....it's a long list. Check out my site.
excersises such as these are fine for warmup, but once you understand the mechanics of the picking, just apply it to your own playing, instead of grinding out chromatic nonesense your entire practice time.
It's a waste of time, because it's not pratical things you would be playing
in a piece much.
If you pratice one phrase that is musically meaningless till you can shred it, doesn't mean you can shred everything else, just that excersise. Start a new lick and, while that time spent will "help" a bit, your not gonna rip it out at top speed because you did 141314131212 stuff for hours on end. It's like starting over.
Write lines, and pratice picking them, all different ways, if up down up down just doesn't work for you after 5 or 10 years of trying to do it, try something else, it's probably never gonna happen.
And this is how people create their own style.
excersises such as these are fine for warmup, but once you understand the mechanics of the picking, just apply it to your own playing, instead of grinding out chromatic nonesense your entire practice time.
It's a waste of time, because it's not pratical things you would be playing
in a piece much.
If you pratice one phrase that is musically meaningless till you can shred it, doesn't mean you can shred everything else, just that excersise. Start a new lick and, while that time spent will "help" a bit, your not gonna rip it out at top speed because you did 141314131212 stuff for hours on end. It's like starting over.
Write lines, and pratice picking them, all different ways, if up down up down just doesn't work for you after 5 or 10 years of trying to do it, try something else, it's probably never gonna happen.
And this is how people create their own style.
No, technical exercises are not the same as music. Good technique is a prerequisite for playing music well, though. Claiming that it's a waste of time is like saying a football or hockey player is wasting their time running or working on their technical abilities in practice. That's just nonsense.
The key to all learning is repetition, whether you are learning math, guitar or shooting a puck. Exercises like those in Stetina's books let's you organize and focus your practice and give you many repetitions of particular aspects of playing.
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