1000% -- fantastic exercise!

Nice!

this is an awesome lesson.

First ... to say we need a ONE Hour 'walk thru practice session' for use Noooobzz plz👏👏👏

Hi Andre one of the best ideas i got was from watching your scale sequence at the end of the video. Its simple. Go up or down so many notes go backwards one less then go forward again. So ascending(or descending), six notes, back five, then repeat. Or could even substitute 5, then 4, or 4 then 3, the possibilities are endless at how to divide each beat. For example, d,e,f,g,a,g,f, then e,f,g,a,b flat, the first sequence starts on an downpick, the second starts and ends on an uppick. For six notes, d,e,f,g,a, bflat then a,g,f,e, then f. The pick direction will vary according to odd or even notes. Odd number of notes pick direction at start and finish is the same, even its opposite. Since seeing this video today i had been doing this idea only with four notes, dudu, d, udud, u, dudu(d=down pick, u=uppick) for an ascending group of notes, eg d,e,f,g; then f; then e,f,g,a. I developed this system simply because three notes or even four is simply note enough to express rhythm at least to me. These ideas can be used for arpeggios, chromatics, diatonics, whatever. I find them easy to do on diminished scales. A way to build tension would do a ascending four and three pattern then on the first string do a scalar descending pattern using groups of 6 down, 5 up, then 6 etc until the sixth string is reached. As well as being fun these patterns will help memory and technique, using strict alternate picking. Thanks for helping me to invent these ideas today!

Thanks for your teaching. To me memory for notes is related to sound and emotions. Four, five and six note sequences are fun if they sound good and elicit an emotion i want to feel. If those two criteria are fulfilled i will want to practice and my technique will improve. Songs such as "in control"(vinnie moore), "agrionia"(macalpine), "love is not a game"(schenker) give notes i like and i like practicing it removes feeling like i am typing fast at work. Lastly, strict alternate picking helps to solidify memory for me at least more than this directional economy picking which doesnt sound as good(to me it sounds like cheating i can hear the difference as the picking sequence affects how the fretting hand timing works). A player such as michael angelo batio may play fast with great precision, but as he is using directional economy picking it sounds cheap. Additionally, groups of four five and six note sequences vary the feel which affects the tempo and thus the emotions. I use technique work if im mentally or emotionally tired until i feel better, then i go back to devising/learning new material. Its great that a player can use diff ways to practice to stay motivated. Ultimately 1)sound quality, 2)emotions, 3)technique. That three note sequence can be done on three, four, five or six note sequences, simply go back to the second note of each group of notes and start there. Eg, dudud, then ud, then ududu, etc up down picking pattern ive been using this on groups of four notes, but thx to your teaching i will work now on groups of three and five for scales and arpeggios using strict alternate picking, i use a thinner pick 0.88 often as it highlights inaccuracies then a 1mm once the technique is more accurate. Amp off initially too.

I enjoy your videos very much, they have helped me a great deal. For those of us who are not as accomplished, would you please demonstrate on a guitar with dots on the fretboard?

@andretonelli

2 ай бұрын

Hi Christopher, thank you! I often do, but when there’s no fret dots, I do make sure there’s always a TAB to read from.

@raymondlugo9960

2 ай бұрын

I'm wondering what it sounds like if two guitars play at the same time where one goes up the scale two octaves and the other goes up in thirds...I'll have to try it myself when I'm free.

@5zazen

2 ай бұрын

Prob the most important thing conceptually is to understand notes on the fretboard and pick direction. There are diff ways to pick, economy directional picking, outside alternate picking, and inside alternate picking. I recommend outside alternate. Why? It balances tension in the fretting and picking hand which gives more efficient timing in addition to helping muscle memory for both hands. Directional picking is a cheap way to speed things up but the listener can hear this its just not as smooth. So for strict alternate picking, on an ascending scale start with a downpick. On a descending scale start with an up pick. What will vary is pick direction. On odd numbers of notes the pick direction will start and end the same direction. Even numbers of notes the pick direction start and end will be the opposite. So say you are playing three notes per string: ascending is downupdown, next string is updownup. Descending is updownup, string change, downupdown. Two notes per string? Ascending: downup, same each string. Descending: updown, same each string. Once you know where all the notes are on the fretboard dots on the fretboard wont matter. What will be challenging is keeping time and keeping the picking direction correct. This will take time but because it is hard the reward will be instant. Its paradoxical, directional economy picking while "easier" actually offers less as it is easier. Doing down up down ascending for each string actually is not logical and while maybe easier at first its harder to establish a logical motor system of which way to pick for the next note. It could be argued it can be done, however i did pick like that instinctively like that 1987-2023 and dont recommend it Last comment: try different picks width as this affects practice as well as tone. I find 1 mm to be a happy balance between tone and motor skills.

@raymondlugo9960

Ай бұрын

@@5zazen I used to like light/thin picks. Then I liked medium. Now I like the Dunlop orange or green...more of the green these days or metal picks. Try different picks and play what is most comfortable of course.