Any critique appreciated

What I think I’m doing is 2wps 2nps pentatonic drills

What do you see that I’m getting right or wrong
Any insight would be great

Of course now watching back I see its blurry.
Hope that helps. Lol

Thanks for posting. This looks pretty good. I don’t see any stringhopping issues here and I assume you can do each of these motions a little faster than this on a single note? How about simple repeating patterns in a single position, like the Yngwie six-note pattern, or the four-note, one-finger-per-fret chromatic pattern? If those are all reasonably speedy and synchronized, I wouldn’t say there’s anything specifically “wrong” with what you’re doing, per se.

However, if you feel like the rolling of the arm around just to play the lick in a different direction is what feels weird, you might try out the more centralized arm position from the wrist motion chapters. This way if you want to change which type of escape you’re making, there is no arm or even pickslant change required. You just… move the wrist in a different direction. This is what it looks like up close:

As it stands, you’re a good candidate for this because you’re already using wrist motion, and the centralized approach may simply be a less dramatic way of doing more or less what you’re already doing.

That helps so much to know.
I will investigate that fully when I get back home.

At times I have a really drastic roll there and I do feel it as a hindrance.

Thank you again and I’ll report back next time with a better video.

Ps, I do 3nps descending or ascending 6s much tighter.
Meaning no large drastic motions.

I have always been a primary dwps as it pertains to default grip and playing position so yeah I really rough in the UwPS position.

Single notes I do ok.

3 note per string where I change slant every string across all 6 kills me.

just watched that video. very cool

I think I have been focusing to much on having a drastic amount of pick slant. By keeping a very minimal degree of slant I can already see my wrist is flatter and parallel to the guitar. The result is little to no rolling of the arm.

I no longer see that telltale flash when I change direction.

Of course none of it is comfortable and I will have to focus on it but I can tell its doable.

This is the problem with “looking for the slant”, and why we’re trying to be much clearer in our instructions now about how to actually position yourself and move. Don’t try to have a certain amount of pickslant. Don’t even try to have a “minimal” pickslant. It’s not about what the pick looks like. It’s about how you position the arm and move the wrist joint.

All of the arm positions and grips we look at in these new chapters will produce a slightly tilted motion path of about 10 degrees. This tilt is slight enough that small changes in your grip can make the pick “look slanted” or “not look slanted”. But again, that’s not what’s important as far as the motion is concerned. You can completely remove the pick from your hands if you like - you still have to have the target arm position and the target wrist motion.

One thing that may be helpful is trying all three grips and arm positions we talk about in Chapter 2, including the middle / three-finger version. This can help you get the hang of the relationship between the arm position and how the wrist moves.

Re: comfort, what you are doing in the clip above is virtually identical to the form we look at in these chapters. There really shouldn’t be any substantial difference in what it feels like. Is your form in that clip comfortable? What did you change that made it less comfortable?

What changed that made it uncomfortable was a hard question but I think I just figured it out and it turns out to be pick grip interestingly.

When I use a hard slant I had a lot of pick sticking out and now I’m choking up on it.

I think that will turn out to be a good thing.

In order to use my old pick grip position I think I would need to use a lot of edge picking angle to keep my picking depth managable.

I will have to experiment with this new position and pay attention to pick grip.

I’ll watch the pick grip stuff shortly so I have the concepts in my head in case this dont work itself out shortly.

Also, I submit I’ll start calling it usx
I see enough logic in the change that it’s worth it.

But for clarity sake would what I’m attempting be called 2wps?

I’m not sure there’s a relationship there that should matter. As you can see in these new tutorials I have plenty of grip “exposure” (our term). The only thing this does is move your hand away from the strings a few more millimeters — hardly a meaningful distance. I can also do all these motions with less grip exposure. And I notice no real difference in how the motions work, other than my hand moving a few millimeters closer to the strings.

Honestly, you tell me. What does “2wps” really mean? It used to mean, “I see the pick flip flopping around”. Some playing styles really look like that. But lots don’t. What is common to these styles among wrist players is that the player is changing wrist motions. If you want to come up with a term that describes this, maybe we’ll use it!

I think we’re safest describing what’s actually happening. You’re using two different wrist motions to play lines that require it. You’re doing it from a centralized arm position that doesn’t change, or doesn’t change much. For now that’s the clearest way to think about it.

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I already notice an improvement here.
Less supinated.

I ran through the three grips and I’m pretty happy with the setup I’m using in this vid.

I’m more accurate and definitely less spastic.

As for what to call it,
Strategic escapes. Lol I have no idea either

But thank you again for all the time.

An interesting thing to acknowledge is the improvement was not the result of doing reps.

I probably have less than 5 minutes of actually playing the thing from the first clip to the last.

I truly believe it came from the setup of the arm and grip.

At least my reps will now be more meaningful

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This new clip looks pretty great. Nice work. There’s still a small arm adjustment but it’s so small as to be negligible in the practical sense for this type of phrase. The bigger picture is the “ulnar offset” we talk about in the lesson chapters. The idea is that the picking motion should take place mostly on the ulnar side of the wrist’s range of motion. The clip you’re posting here might be slightly radial. So you might make a mental note to start the downstroke with a straighter wrist / forearm alignment, and return to that position, but not beyond, when the upstroke finishes.

When you get into playing lines where you have arbitrary mixtures of 1, 2, and 3 notes per string, that’s where the real switching power of the ulnarized motion starts to shine. A good example of this would be a phrase like this:

For this kind of line, with the type of motion you’re using here, you’re not really thinking about changing pickslants or however we would have described it. Instead, you’re just thinking about hitting each note with the intended pickstroke, be it down or up.

From this point, I would try to throw a variety of music at this. Think of it like a shopping basket full of different phrases which can include stuff like you’re doing here, and phrases with arbitrary numbers of notes per string like the Instagram example. And I would mix in speeds that are a little faster than you’re doing here. This way you’re getting variety of phrases, and variety of speeds. It’s the fastest way to give your hands enough opportunity to learn to recognize the correctness of all these little combinations of movements.

Again, nice work here and let us know how you make out.

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