What are you learning?

is there a specific aspect to it that's tripping you up?

My finger flexibility is terrible...guess it's just genetic. I've always been forced to play box patterns because of it, and it's limiting. I have some sweep patterns I use...mostly 4 string sweeps...I have a real hard time with 6 string sweeps...especially rolling...my fingers won't allow it....I can fake it, but I'd really like some practice tips on cleaning them all up a bit...better articulation.
 
As far as the rolling goes, that flexibility can definitely be developed. I'd start practicing the rolling technique with simple two-string sweeps. Start it on the high B and E strings. You're going to want to lay your index finger across the A on the 5th fret of the E string and the E on the 5th fret of the B string. The pattern you're going to play is:

E|5-5----5-5----
B|---5-5----5-5-

Picking pattern: D,U,U,D,D,U,U,D

(sorry it looks not-so-neat, I don't know how to embed a powertab image or something like that)

etc. over and over. Just like any technique excercise, do it as slow as you need to do it in order to do it cleanly. By doing only two strings, you'll be able to focus on the rolling in your left hand without having to pay much mind to your picking hand. You're going to want the part of your finger where you normally fret on the B string and then you'll arch it down to get the E string as needed. The motion itself should come mostly from the joints in the fingers, but the wrist should help. The biggest thing is making sure you arch it enough to mute the string you aren't playing at the time so you've gotta be very self-critical when you're doing it slow and make sure you're doing that from the start. It'll vary for everyone because everyone has differently sized fingers and whatnot, but by paying real close attention you'll be able to find the amount of motion (and where the motion comes from) that works best for you. I should also mention that the 2-string sweeps can be a really cool effect to use in your playing here and there because it's easy to get them REALLY fast. Check out some George Bellas...he does that a bit.

After you've got that down with your index finger, do the same with all of your fingers using the 2-string pattern. Then, apply the same thing to each string group. Then, as logic would follow, expand the concept to 3 strings and practice that with each finger. Once you've got the rolling technique down solid on 3 strings, you'll be in pretty good shape. I would reccomend being able to do it on 4, but it's not as common to do that in an actual piece of music. Then again, it's better to be able to do something and not need it than it is to need to do something and not have it.

The articulation will improve drastically by just cleaning up the left hand, but paying some extra attention to the right hand and experimenting with how heavy your pick attack is might be worth playing around with too. I while back, I made a powertab file that I would play along with once a day that had all kinds of sweeping patterns and excerpts from different songs, etc. I don't know if I transferred the file when I got my current laptop, but if I can find it I'll upload it for you.

In the meantime, see if you can't find some Frank Gambale books/videos. Here's a powertab file of the examples from his "speed picking" video http://powertabs.net/tablature.php?id=21365 . Lots of great stuff in there.

As far as the finger flexibility, I'd work that independantly from the sweeping for now. If you don't already use/know the 3 note per string scale patterns, start using those as they will force you to stretch a little bit beyond box patterns (there are exampls of the 3 nps patterns in the gambale examples above). Here's another exercise that does wonders for finger stretching/flexibility:

(on any string)

|-1-2-3-4-1-2-3-5-1-2-4-5-1-3-4-5-1-3-4-6-1-3-5-6-1-4-5-6

The catch is that you have to keep each finger planted down as the next finger reaches for it's fret. Not many people can comfortably do this from the 1st fret (myself included) so there's no shame whatsoever in moving it up a couple positions. And don't push yourself to the point of injury with that one. I know that's probably stating the obvious, but some people can't distinguish from the healthy pain that means that you are working the muscles/tendons and the bad pain that means you are hurting them.


Hopefully some of that helps. I'm not so good at explaining technique-based concepts via typing so if anything starts to resemble senseless babble, it just might be:lol:
 
Actually, you explained everything quite well and thorough. Thanks so much for taking the time to help an old timer out. I'll bet there's still a trick or two I could show you as well.:lol: Maybe not, but seriously...thanks...that was very cool....you'd probably make a good instructor as well.:headbang: I'll definitely try to find some time to practice these techniques. Do you baby sit as well? Ha!
 
I'm learning all the songs for 'High School Musical' cos my old school is doing the musical and I'm playing guitar for it...

I also got the music for 'Eighths Is Enough' and 'The Mad Dash' by Spastic Ink for a bit of a challenge...
 
I've pretty much learnt all the Sinergy songs I've transcribed becaused I've had to play through them to get the right chords/rhythms etc.
 
Thanks meedleyx10 for the great tips! I'm somewhat experienced player but there's always room for handy patterns.
 
correct... :cool:

It's got so many pentatonic licks in it though, and I've tried to avoid those all my life so as not to fall into the trap... I wish they were 3 note per string runs instead... :rolleyes:

i cant play pentatonic stuff for crap, my fingers arent fast enough to play stuff like

D|------5-7-----5-7-|
A|--5-7-----5-7-----|

at any real speed, but with 3 note per string i can go reaaaaaaaaaaaaaaaaaaaaaaaaal fast, so i just dont do pentatonic.
 
It's got so many pentatonic licks in it though, and I've tried to avoid those all my life so as not to fall into the trap... I wish they were 3 note per string runs instead... :rolleyes:

Pentatonic licks remain the cornerstone of most guitar playing. They are very handy to "bring you back" from whatever direction you may have put in your solo.

I would advise exactly the opposite - learn the pentatonic licks so you have them as a foundation to build from. You should not avoid them at all. If you are afraid of "the trap", learn new ways to apply them, such as starting a lick with an A#min pentatonic and then sliding back down to Amin pentatonic.

And they are very easy to make into three-notes-per-string runs, though they stretch the fingers a wee bit.
 
you've gotta be able to do the pentatonic stuff.....it's kind of backfired on guitarists because it went from being the easier-to-do stuff that everyone used because it sounds good without too much effort. Now, a lot of guys view it negatively because it's seen as kind of the simpleton's approach to soloing though. One way or another, it's too good of an approach to overlook. And to anyone (not necessarily anyone who's chimed in here) who's got that negative view of pentatonic soloing and feel it's too basic of an approach with highly limited results....go spend some time listening guys like Eric Johnson and Frank Gambale...or Coltrane for that matter.
 
pentatonic and blues is only a half step away from any other scale you need and can be grabed any time. Then you have the cromatic (sp?) passing notes right in the middle with the blues scale which is pentatonic anyhow. Cmaj pentatonic is A blues and so on. No need for phobias cause its all usefull. All depends on where the progression is at or feel you are delivering... now if I could just figure out how to use them properly ....... :lol:

Currently working on ? trying to get my chops back and iron out some issues that always bothered me with some of my old songs. An update, so to speak. Its going to be a long time before the creative waves start rolling again so I am back to elementary school.
 
you've gotta be able to do the pentatonic stuff.....it's kind of backfired on guitarists because it went from being the easier-to-do stuff that everyone used because it sounds good without too much effort. Now, a lot of guys view it negatively because it's seen as kind of the simpleton's approach to soloing though. One way or another, it's too good of an approach to overlook. And to anyone (not necessarily anyone who's chimed in here) who's got that negative view of pentatonic soloing and feel it's too basic of an approach with highly limited results....go spend some time listening guys like Eric Johnson and Frank Gambale...or Coltrane for that matter.

Eric Johnson is a great example. Play some Joe Bonamassa or Robben Ford and let me know how "simpleton" it is, right, Meedles? You have the most refreshing views of any young players I've talked with...you're going to go far, kiddo!

I like to think I have a unique approach to blues and pentatonic...I don't fall into all the cliche licks...sometimes those cliche licks are just fantastic at the right spot though.

Check out the Blues improv on my Myspace...it's a rather sophisticated approach to the blues, I think. Don't get too critical...it's just a one take improvisation and like razor, I'm still gathering my chops back...very slowly....so don't any of you young whipper snappers get wise...if I had the resources you do now, back then, I would have melted you!:lol: just kidding...rock on! blues and pentatonic rule. I'm not a big Zakk wylde fan, but he's a pentatonic monster...so was Dimebag!
 
Eric Johnson is a great example. Play some Joe Bonamassa or Robben Ford and let me know how "simpleton" it is, right, Meedles?

110% correct!

Anyway, in an attempt to bring the thread back to some resemblance of on-topic....I spent some time today refreshing my memory on Frederic Hand's Study No. 2 for my audition for classical guitar quartet tomorrow. I'm already guaranteed the spot but I still want to rock the audition.
 
^have a blast with that dude, Dufour is the shit. While I admit I discovered him via watching McKee videos, his music blows Mckee's away IMO. Memories of the Future is one of the most beautiful pieces. I've got one of those 3-hand capos (or whatever they're called) on order and I'm planning to have a go at it. And, he's an Ayreon fan so he's okay in my book:headbang:
 
The part at 2:23 fucks me up badly :lol:

And yes I agree that Dufour >>>>>>>>>>>>>>> McKee, plus he's a fellow Canuck. Have you see his most recent vid with a violinist accompanying him? It's fucking brilliant.

 
Last edited by a moderator:
yeah, I'm managing to overlook the whole canuck thing:lol: But you guys also have Rush and Conan O'Brian to your name, so it's all good ;).

I hadn't seen that one yet, but I'm definitely glad I have now!