Thanks Troy - I have looked at the techniques and found them extremely helpful. To bring it all together I have attempted your turnaround lick in this thread here:
It is rough - and not as good as yours! But I wanted to share with everyone who has been assisting - even just to show I am genuine and enjoying learning and putting this stuff together!
Thanks again
For anyone else interested in the the very early Yngwie playing - here is him playing one of these amazing turnaround licks at 18 years old!! Unbelievable
This performance is amazing. He plays the arpeggio break from ‘Rising Force’ here - interesting how he worked it out about 7-8 years before recording it on Odyssey!
Should be illegal to be that good.
Damn. 18 years old.
Crazy he’d developed his signature technique and vocabulary already at this age. Even though we now know that’s it’s not strictly required, his efficiency of motion on those 2 string sweeps in that ‘Rising Force’ part is a beautiful thing to see. Even on footage of this quality. Thanks for sharing!
I still cannot work out how Yngwie developed his style. If you listen to the early Steeler solos you can hear simply amazing technique.
I’m working on learning how to play some of these early Yngwie licks and will be posting some more stuff soon on the forum.
One thing with playing early Yngwie I have learnt is it’s not enough to know what notes he is playing. You have to know how he is playing them if you want to sound like him. This is where the analysis Troy has done is important. Yngwie uses economy techniques and this results in that smoothness in his runs you hear in the Alcatrazz/ Steeler.
In his biography he says he socially distanced him self and practiced every waking hour. This attitude of his is true to this days. Steve vai says it and I have it on good authority from his Alcatraz fays, he’s never without his guitar, practicing.
One of the things ive heard is he also practices on acoustic just as much. This is not known by many. If you hear him noodling on his electric in interviews you can hear it, he’s articulate and picks harder that one might imagine.
Also his setup is critical, his custom guage 8/9-46 with high action and his amp/OD into t75s. He s also no stranger to hybrid picking.
This has just come up on Youtube - it is early Yngwie!. Check it out!
What I get from this is:
(a) Yngwie at this stage of his carer was quite focused on his picking and was unbelievably fast. When you hear him blazing through his Alcatrazz solos, they are probably not even the peak of his picking speed.
(b) The level of precision is again extraordinary
(c ) His splaying changed post Alcatrazz and became focused on other stylistic elements - more legato, more arpeggios, more classical type runs
The OP of the video suggests this is circa 1985 - but I think this is earlier - clearly in front of an audience large enough to be heard. I’m thinking Steeler or something else?
Also I hear a clear difference between the 85 link in the video comments to this - I felt his playing had already begun to change post Alcatrazz.
I’m interested on people’s thoughts on this! 
In the heavily memed “more is more” interview Yngwie touched on how much a “freak” he was in his youth constantly practicing and alludes to having gotten bored with the blues as the prime reason for focusing more on classical tonality as major/minor tonalities have more notes in the scales. There is another banger interview that I can’t find at the moment from the Metal Evolution: Power Metal ep where he talks about learning Deep Purple’s Made In Japan by ear, replacing Blackmore’s playing with his own, and fooling his school friends.
Of course more is more. How could it be anything but!
Also interesting is how he never distinguished between practicing and playing, after a certain point- they were really the same to him. As I always say, Live in Leningrad 1989 is some illegal stuff.
Ha, this is awesome. Honestly the thing that impresses me the most is how even his trem picking is, at these speeds, along a single string. Back to the woodshed!
I don’t really have any thoughts on this…or anything at the moment…because my head just exploded! 
Seriously though. What a beast! He gets extra points for playing that Bach Bourrée in E minor around 50:49 lol!
I too was speechless. Still reeling from the solo clip.
Would he be using economy picking all through this first clip do people think?
Yngwie picking, no doubt.
Does anyone know how Yngwie kept his error rate so low during the alcatrazz era? He basically was able to replicate and embellish these solos live with repeatability and virtually no errors. These are long, intricate , tongue twisting solos flawlessly executed at will at breathtaking speed. Jeff Loomis’ Jet to Jet solo above is the only cover I’ve ever heard that is without error when slowed down.
How did Yngwie play these solos so cleanly during that era?
I don’t think there is any magic sauce to it. He on his own figured out his picking system unawares and mostly worked on his left hand consciously. Here’s the thing that sets him apart; he really did OCD with a guitar for at least 5 years. We’re talking about every waking hour for that period, Yngwie always had a band, but they never played out, when they did it was much later. I forget the exact dates etc, but I’ve read both, his autobiography and the biography, also I’ve heard accounts of him on forums etc from people who knew him, even in the Steeler days, he practiced constantly. The kind of dedication is not for everybody, he’d go to sleep playing, wake up and start playing with his left hand on the neck before opening his eyes even, he’s continue this one hand playing while he made coffee and breakfast with his picking hand. He’d play while walking to the bus, waiting for the bus, on the bus… you get the idea.
I think anybody can do it; but not everybody has the time and absolute bloody minded dedication. Growing up he did little else those last few years, till he started a band in that studio basement of his grandmothers, he had little social contact before that. I think he gained respect from musicians before he really had any friends!
Build all that up to exploding in America, he was primed and kept practicing regardless. I really do think with all this knowledge we have about picking, anybody can do it with extreme handwork IF one has the aptitude.
thanks for the reply! yes agreed - there is certainly hard graft to get it. I have been reading his auto biography too. He had his picking technique together by 18 - (see the live video in 81 above).
I still find it very hard to replicate the control - to go a whole solo without an error - unbelievable. I find just going one twisting phrase without error hard! He says somewhere in his bio that never playing a wrong note in a scale is like an automatic function to him. - I wonder if he means not making errors?
Jeff Loomis played Jet to Jet error free - be interesting to know his take on it! The key is slowing down the recording and then seeing if it has mistakes - Loomis’ version is the only end to end Alcatrazz cover that I have heard that passes that test.
I think with Yngwie, there is no prep, it’s real and ready to go. He seems to have just worked it out to the point where he delivers on demand improvised with direction. Gambale level understanding of his genre.
I just swipe everything unintentionally like a scrub.