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Thread: Strictly Alternating Picking

  1. #16
    Registered User tucker97325's Avatar
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    Quote Originally Posted by szulc
    This is a simple exercise, but the picking difficulty is exaggerated by the 3 string groups forcing you to alternate the starting stroke of each motive (nine notes)...
    Okay, now I'm confused again. Are you saying there is a "BEST" way to begin each motive? If so, could you share that information?
    "It ain't what you play man! Its how you play it."
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  2. #17
    Resident Curmudgeon szulc's Avatar
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    ? I don't get where you got "BEST". There is only one way to do this exercise, well actually two is you count starting on an upstroke as another possibility. My comments only meant that this is difficult only because it FORCES you to start each 9 note group (what I am calling a motive) with a DIFFERENT stroke than the one before. Make sense?
    "Listen to the Spaces Between the sounds."
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  3. #18
    Registered User tucker97325's Avatar
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    Quote Originally Posted by szulc
    ? I don't get where you got "BEST". There is only one way to do this exercise, well actually two is you count starting on an upstroke as another possibility. My comments only meant that this is difficult only because it FORCES you to start each 9 note group (what I am calling a motive) with a DIFFERENT stroke than the one before. Make sense?
    It makes sense if what you're saying is "You start with a stroke (up or down) and each stroke after that is the opposite of the prior stroke.)

    Please remember, I don't ordinarily use a pick, so this is all new to me. Since I am learning from square one, I'd like to learn/practice using the proper technique. I was thinking of the process of developing speed in a purely physical sense. That is, it seems it would take a shorter length of time to play a note on the 6th string followed by one on the fifth string if they were both played with a continued down stroke. But I guess that doesn't take into consideration the rhthym/coordination allowed by just being able to move the pick up and down quickly.

    I think I understand now.
    "It ain't what you play man! Its how you play it."
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  4. #19
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    Quote Originally Posted by tucker97325
    It makes sense if what you're saying is "You start with a stroke (up or down) and each stroke after that is the opposite of the prior stroke.)

    Please remember, I don't ordinarily use a pick, so this is all new to me. Since I am learning from square one, I'd like to learn/practice using the proper technique. I was thinking of the process of developing speed in a purely physical sense. That is, it seems it would take a shorter length of time to play a note on the 6th string followed by one on the fifth string if they were both played with a continued down stroke. But I guess that doesn't take into consideration the rhthym/coordination allowed by just being able to move the pick up and down quickly.

    I think I understand now.
    I have never really learned to pick like a master. However, a few days ago I noticed a progress. What I did was that I sat down and planned out certain patterns to play over and over. An advice from me would be to choose a scale, for instance the A Minor scale, and play it grouping the notes in 3 notes per group. Practice both ascending and descending.

    A concrete example on what helped me a lot;

    I began on the (A) 5th fret high E with an up stroke, then I hit the (G) 8th fret B string with a down stroke, next the (F) 6th fret B string with an up stroke again. That's the first three notes. Now you go back to the G note and play G F E, then to the F going F E D. Make sure you ALWAYS alternate pick. That's the key to a structured style, it seems. No matter what you do, alternate it each time. That's what I have done lately, and I have finally started to experience a certain progress.

    Another suggestion is to keep it simple. Before I played the whole scale, I concentrated on a few notes only. Then when I had the first phrase under my belt (or; do I even have it under my belt yet? I'm not sure) I moved on.

    Closing words; start out simple, keep it alternate.

  5. #20
    Modbod UKRuss's Avatar
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    Quote Originally Posted by widdly widdly
    Yeah Russ has given us some bonus noodling nice tone!

    I'm going to have a crack at this over the weekend.

    Ooooo,I don't know about that. I think I recored over one of the lead tracks I did for the Bluesy pent take I did recently. God, that's got to sound awful on it's own....

    Apols, I thought I'd got rid of it all!

  6. #21
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    I think I heard a couple of extremely nice chords towards the end of your Strictly Alternate Picking recording. I didn't analyze them, I just remember now, that they sounded very well. Were they chords of a special kind, or was your guitar tuned to perfection? Oh, as we're on about the chords; listening to your ending led to a moment of annoyance. The way you built up by playing a few nice chords, probably barre chords of some sort? They had a certain substance, they built up the tension, and then all of a sudden you ended the whole piece with a single note; or a few single notes played in succession. Heh, where did the final, grandiose, bombastic and pompous chord I expected go? OK, that's it. No more complaints this time.

    Your actual recording; your alternate picking piece, sounded good. The clean tone underlines that, as it's hard to hide technical flaws when your tone is clean. From what my ear perceived there were no errors, so I'll stay inspired and try the exercise myself soon.

  7. #22
    Modbod UKRuss's Avatar
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    Cheers AJ, I did hit a coulpe of wrong notes I think in my AP practice but i think the picking aspect was pretty good.

    It was very helpful just to see what your honest maximum is, becasue in my mind i thought yeah, i can do faster than that but in reality i was much slower than i thought i would be. Humbling and totaly right!

    The other bits i can't really comment on, it was just noodling. I suspect the chords are 7ths though. The reason i guess the bit ends with just notes or seemingly random stuff is becasue I pressed the stop button too late for the end of the AP stuff and too early for the end of the other stuff so it is incomlpete, sorry.

    But i think it is actually the take i did on the latest Strictly Pent so you can proly check the whole thing there.

  8. #23
    Weak Fingers MattW's Avatar
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    I'm gonna suck so bad at this, I don't normally play these kinds of things. I'll give it a go though.
    Last edited by MattW; 09-09-2005 at 06:29 AM.

    Current Listening:
    Gong - Expresso II

  9. #24
    Registered User ashc's Avatar
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    Here's two clips from me at the rather lame 110bpm and 115bpm (tired by then) - both using the Russ 3 repeats yardstick.

    I'd be interested to hear if either or both are a "fail" - be honest now.

    I probably did try too hard too soon, but I'm gone for a few days now and wanted to get something in to work up from.

    Ash
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  10. #25
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    UKRuss: I see. Regarding my speed level I don't have any expectations at all. I have never really practiced speed. I've just learnt to play "in key" and play it "right". Seldom I have practiced for the sake of gaining speed. However, it has occured, and I have increased the speed practice in the very recent time. I'm happy about one aspect, and that's the fact that I am about to get rid of the 'too laidback' attitude I've had when improvising solos. I haven't bothered picking for real. I've cheated by incorporating legato style all over the place. Fluent? Maybe sometimes, but the overall perception will be extremely drab after a longer listen. Even my Strictly Minor take suffers from this, but it sometimes happens when I'm "drifting away". When disappearing in the moment, the joy occasionally tends to exceed the discipline. Well, that's not a bad thing all the time when I think about it. Having fun playing is great, but it's all about balancing the thin line between wild, mindless "circus" playing and strict, strict, structured (...to the irksome?) playing, isn't it? One should really find ones place somewhere in between.

    MattW: What? Well, you seemed to complete a few well-performed picking sequences in both your Strictly Dorian and Strictly Minor, so I doubt you'll fail that badly on this one.

    EDIT: Asch - good playing. You focused on playing clean, that's great. No reason to rush it for the sake of rushing. I have a feeling it's harder than it sounds. Both the 110 and 115 BPM recording were good, but the first one was probably a little more perfect. I didn't react on anything, while in the 115 BMP rec. I noticed maybe one or two "half-way" unlucky picks.

    Short, but stylish ending.
    Last edited by Apple-Joe; 09-08-2005 at 09:07 PM.

  11. #26
    Registered User Santuzzo's Avatar
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    Question for James

    Are we really supposed to play the exercise 24 times in a row without interruption?

    Or is it alright, to do it like say 4 or 8 times ?

    I'm about to find my present speed for it ... and it really does depend on whether I play it just 8 times or 24 times in a row ....

    I guess, it mya make sense to really stick to playing it 24 times, great way to work on endurance and also concentration !
    It is DAMN hard to play it 24 times in a row without any slight mistake or flaw -regardless of speed-

    Lars

  12. #27
    Resident Curmudgeon szulc's Avatar
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    There is no hard and fast rule that demands you play this 24 repeats I just tabbed it ot that way so you could let powertab run while you moved in and out of actually playing it.
    "Listen to the Spaces Between the sounds."
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  13. #28
    Weak Fingers MattW's Avatar
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    Quote Originally Posted by Apple-Joe
    I haven't bothered picking for real. I've cheated by incorporating legato style all over the place.

    MattW: What? Well, you seemed to complete a few well-performed picking sequences in both your Strictly Dorian and Strictly Minor, so I doubt you'll fail that badly on this one.
    Don't dismiss legato as cheating! It's just another technique to reach a desired effect, to play complicated legato lines and not just simple runs up and down is actually particularly difficult, probably harder than picking the same lines in a lot of cases. It's just a matter of using the right technique to achieve the desired sound is at any particular time.

    With regards to me probably being rubbish at this, the main reason why I'll find it quite tricky is because of the SAP rule (and not just 'cos I think I suck at picking). I can alternate pick the main chunk of the run not that badly, but when it comes to changing direction (at the end of the 9 note section) I don't always think in SAP terms, it's not so much that I'm making mistakes because of it, it's more that I'm breaking the rules, it'll just be a matter of getting out of the habit for this excersise.

    Current Listening:
    Gong - Expresso II

  14. #29
    Modbod UKRuss's Avatar
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    That's some tidy pickin' there Ash! I can't say I really heard any mistakes at all, if anything it made me feel guilty I'd gone to 140 and hmmmm, I'm not sure it's as clean as it should be, I may drop and work my way back up again.

    Love the ending!

  15. #30
    Registered User tucker97325's Avatar
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    I won't post mine, but I'll tell ya, I can do it clean at between 75 - 80. I feel like such a failure.
    "It ain't what you play man! Its how you play it."
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