I’ve been working repeating ascending and descending 6s
Across all string sets.
As expected some are easier than others but it gets unreal with the g and b strings.
Im going to continue working it just for the sake of being thorough but please tell me its a dirty little secret that even the greats would avoid these fingerings. For this maneuver.
Here are a couple examples that I feel would take years.
Yes, I bet this is the case 
I think there are a lot of great players that take the path of least resistance* like you say, certainly in the Strunz and Farah interview they mention if they try something and run into difficulties with it, they ditch it immediately and go with what works.
On a global scale you’ll probably get better results taking something that comes easily and trying to wring as much out of it as possible than plugging away at one pattern in one position that gives you difficulty.
At the same time it’s probably worth spending a bit of time on weaknesses too.
*There might be a few who jam their forehead up against the grindstone of maximum resistance until they get results too.
I do find that practicing the very difficult stuff makes the easy stuff easier. I really noticed this once I started working on 3nps pentatonic patterns. Standard 3nps scales are hardly a stretch in comparison.
Admittedly I really struggle with 3nps
Pentatonics at the lower positions but I keep working them because my buddy uses them all the time so I know its possible.
I have some sort of brain quirk that feels like Im cheating myself if I don’t try these hard positions or that Ill have a glaring hole in my technique.
Have to remind myself that I play on my bed and no-one cares if I can tackle a scale fragment in the inconvenient area
Yeah, those are some weird fretting hand movements, maybe, but there’s really no theoretical reason you SHOULDN’T be able to do that.
We talk a lot around CtC about focusing on building out the stuff that comes easily to you and developing a style around that, but I think that’s true to a greater extent for the picking hand than the fretting hand. There are technical challenges in, say, being a downward pickslanter and playing, say, that first motif starting on the 5th fret B string with strict alternate picking starting with a downstroke that make it technically awkward to do, but those aren’t really present in the fretting hand - I’d be more inclined to woodshed something “hard” like that, where it’s just getting your fingers used to motions that initially feel awkward, than I would be about trying to work through a picking motion that just isn’t going to work at speed.
Makes perfect sense.
just practice stretches and actually STRETCH. really helps if that fretting hand is limber.
