Got any tips for me?

One way economy, ok. I’ll keep that in mind. (I have watched most the stuff but don’t memorize the definitions, thats my fault sorry)
Yeah I agree, it’s the best in my opinion. I’ve only got one perspective. I do see a lot of people finding it very efficient though.

You know what’s funny is I hate using legato. My brain hates it actually. I like the idea of it but my hands and brain can’t figure it out. Even for just playing like a g major scale. I can’t do it.

Biggest tip is whatever you do, do not give up.

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What about a mixture of picking and hammer-ons or pulloffs? Often guitarists think that they have to pick either 100% or 0% of the notes. You don’t have to choose bethween Meola and Holdsworth, you can also be a Mealsworth :smiley:

The idea would be to take a lick and place the hammers & pulls wherever they feel more comfy to you. Example from a relatively unknkown guitarist from an obscure band :smiley:

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Mealsworth!! :joy: Love it!

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I can do one pick and then hammer on pull off how ever many notes I want. Something about just skipping one pick stroke messes me up.

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Oh yeah, that guy! I think he could become pretty decent if he actually practiced sometimes… :roll_eyes:

jk, take it from JP! Of course, that technique has its own sound, different from the fully alt picked sound. But I wouldn’t worry too much too soon. To be able to complete a lick by using a little helper thing at first, will likely be a big motivation boost. In turn, that’ll help you continue your quest and give time for your really desired technique to grow.

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You only need one pull off for most things. Don’t really need any hammers.
If you can get used to that you’ll have most the technique sorted. Idk if you are looking into doing that though?

Doesn’t that depend on if the run is ascending or descending though? Hammers up, pulloffs down?

EDIT: Ah I guess you mean. Say we’re talking USX, you don’t need hammers because if the picking doesn’t work out evenly, you’d just plow through the string and incorporate economy picking there. In the same fashion though, if this we’re DSX only, it would be flipped. You’d never need pulloffs and you’d need a hammer when ascending if the picking called for it.

I think I get what @Jarrodpimentals is saying though. The Yngwie/EJ method of these very occasional slurs can seem weird at first if you’re picking hand is used to going like a motor. I could see hand sync issues. Unfortunately it’s like anything else, gotta practice it until it feels comfortable.

Yes. My hands get out of sync if they don’t both perform and action. Like I can’t play the drums at all because I can’t do 2 different things with each hand and then add in a foot or 2. I’m lost.

For normal playing you can do it all as far as I’m aware with just a single pull off to descend. I think the only thing you can’t do like that are single note things, like just hitting one note on a string or arpeggio sweeps.
Everything else uses at least two notes per string or three, or more of you’re crazy. And those all work perfectly with single escape and a single pull off.

I find the pull off to be filling in rhythmicly for the lack of picking. Like you say with practice it will eventually feel natural. It really is just a single pull off, everything else is picked. So you can build up they rythem feel quite easy.

I can do a video showing it if you like @Jarrodpimentals Though John Petucci already explained it and I’m not him to say the least lol I would recommend you put some time into it tho, I think its a really useful picking style. Tho John does the double pull off, you don’t need to do that, you can get away with one.

Yeah if you do the same DSX it would be hammers to make it work. I should Probably use USX instead of single escape, I’m sorry I’m terrible at using the correct terms but trying lol

I should probably add like you say it’s also useing economy on the accending runs. So a single mini sweep. I think discribing it makes it seem complicated, but it’s the easiest technique I’ve seen.

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Yeah, you are talking usx though, not dsx. They are both single escape but gets very confusing to describe descending pull offs if someone is a dsx player

Usually what is recommended, is to film yourself playing your fastest, most comfortable tremolo, without thinking too much about how you do it.

From there, it will be clear what your fastest single escape motion is. With this you can then apply to phrases using this single escape.

Depending what your motion turns out to be, you could then work on a secondary motion to switch strings with odd numbers of notes, if you want. Many great players stick fairly close to their primary motion it seems.

So Id recommend filming your fastest tremolo and take if from there

I think it’s USX based on the prior video. 0:39 in the video is the tightest fastest cleanest…

I think we need to see it faster to be sure. I don’t think the clip is fast enough to know which is the fastest most comfortable motion.

So I recommended recording the fastest most comfortable tremolo. It will be clear then what the next step is

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I seen Yngwie just uploaded a vid, and you can hear him doing the descending 3nps, single pull offs, really well. Just after the ascending run.

The descending line is all USX single pull offs as far as I can tell? You can see how well it can work.
Goes by fast but he does it multiple times in this and you can hear the double pick then pull off.

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Yeah, with certain setups, like forearm and wrist picking with a large downward slant, switching strings after downstrokes descending is a major ass pain. The secondary arm flip flop, to me at least, feels very cumbersome and unnatural. It’s faster to just avoid having to do it at all, for me.

However, if you are wrist only Usx, in the Mike Stern sort of arm setup, very little, if any, change of form would be needed to switch after downstrokes descending. It’s sort of the mirror image of the Andy Wood setup, just with the wrist moving in a different direction as he is Dsx primarily.

Yea I get how the mechanic works for 3 nps with a pull off. It makes sense In my head but my hands don’t want to do it. If I do something with one hand and nothing with the other hand I lose all synchronization and can’t finish playing.