I did watch troy’s videos on the incredible malmsteen technique, however I’m stumbling on a passage where I have absolutely no idea how to play this measure while respecting the 5 rules troy indicates, any idea? thanks
after the first 4 notes my hand is in the air thanks to the upstrock, I had the idea to play the following ones by placing the pick on the string of B then sweep up but it is a waste of time?
Something like this I think
Thanks, it seems to break the rule (only change string after an upstroke) but can’t see how it’s possible to do that in that lick =)
@ASharpMajor are you sure the tabs are accurate? As you pointed out, playing this would violate the ‘rules’. I’m by no means an Yngwie authority but I’m pretty familiar with his stuff and I can’t think of a tune where he uses patterns like this. What is this excerpt from?
Thanks for the link @D.Llewelyn!
I hear it differently than both you and @ASharpMajor. To me there is a distinct pause in the middle of the phrase (3rd beat of 1st measure), so I’m not hearing steady triplets throughout.
I think this is the way to play it inside the Yngwie framework:
I’ve used some swiping in places and to me that makes all the difference in the world in playing this smoothly. We’ve got documentation of Yngwie using swiping too. I need to dig through the forum to find it though.
EDIT: here’s that other thread where we’ve got video footage of Yngwie doing some swiping
Interesting I didn’t think Yngwie does inside string change picking like on the 4th 5th 6th notes ?
I tried to model my technique on Yngwie’s and it’s very rare to need an inside picked string change like that. There’s not many cases where he goes from one string to another and back without sweeping the downstrokes as far as I know.
I’ll have to slow the video down and take another look.
Yes, I think you’re right. I hate to say it but Yngwie is pretty sloppy in the clip and misses quite a few notes.
I usually account for what I imagine he was intending to do. I came up with 4 or 5 different ways of picking this as I transcribed it so of course most of them are gonna be incorrect to someone.
Thanks, are you sure about the picking direction, if i start the lick on a downstroke, there will be string hoping, maybe you inverted it ?
Also, where can i find accurate tab, it seems like 90% of tabs are wrong ? thx
You have time since there is a pulloff between the downstroke on the high E and the upstroke on the B. String hopping is only problematic in successive pick strokes. I tabbed it starting with a downstroke because it felt natural to me. You can definitely start on an upstroke if you prefer. He probably does, come to think of it. I know a lot of the 3 string arpeggios in his insructional video start with an upstroke. So in this case, I did intentionally tab it the way it appears but you can and probably should change it.
Unfortunately I don’t know. But honestly, spending time with the slowed down youtube video and being a detective by applying what we’ve learned from Troy should help us get it in the ballpark by figuring it out ourselves.
The thing that caught my eye about this thread was how awkward it felt to play it with the tabs in the early posts. We have to remember that Yngwie isn’t going out of his way to make things difficult. He looks so effortless because he plays things that feel easy and natural to him. If we try his stuff (assuming we’re adhering to his system and are ourselves comfortable with USX) and it feels out of place, that to me is a red flag to try something different. Obviously his speeds are challenging, but anything that would require mixed escapes or quickly changing 2-way sweeps is probably not how he plays it.
amazing, i’m gonna work on it, thank you so much !
Yngwie definitely does some things with arpeggios we would consider inefficient. Look at how he plays that minor 5-string shape:
You can see that reasonably clearly in “Play Loud”. Those two downstrokes in the descent kinda don’t make sense, but they happen. It’s hard to tell even in the slow-mo but they look like hops or escapes rather than swipes, but there’s no way to be sure of course.
The way it makes sense is: the descending up-up-down pattern from his 3 string arps always applies, and he glues the rest of the pattern on the lower strings to it, regardless of what most efficient picking pattern would be. He probably has a couple of other combinations down there a bit like the famous “volcano” lick, we just don’t know what they are yet. 
I was applying that approach to the shape we are talking in Icarus Dream:
It feels funky at first but if you’ve got the 3 string arp patten down, it starts to feel pretty natural. So I agree with @joebegly, but I’d start on an upstroke (personal prefs as he says).
And yeah, @ASharpMajor, all the tab is wrong in some way, even the better ones. I have all the early Hal Leonard ones Wolf Marshall did, and while the notes are mostly right, it’s clear Wolf had never seen Yngwie play. Things that are obvious when you know YJMs idiosyncrasies are missing. Even LuckyMojo’s brilliant Far Beyond The Sun tab (there’s a thread on here if you haven’t seen it) turns some of the Fm arps into mad stretchy EVH licks!
Wow that’s crazy. You’re right though, I checked the play loud video and there is a take or 2 of him doing this…he’s pretty sloppy on the awkward part though (the descending part with the consecutive down strokes). What’s weird is the section in that same video, he demos some 4 string arpeggios and from what I can tell he plays them more ‘sensibly’ For example:
To me it’s one of those times where we all need to do what makes sense for ourselves. Personally, it’s a no brainer, especially since the man himself is lil sloppy on these as compared to his more bread n butter 3 string arps Yngwie is just damn cool that everything he plays sounds awesome. Since I’m a mere mortal I need all the help I can get so I’m going with feels easier and more consistent.
Crazy !
I guess it’s a mistake (proves he is human), and he’s transitioning to a downstroke to play the 2 notes “14 10” on the D string, (which of course we know will always be started with a downstroke), but he does it 1 string too early by mistake.
Amazing that he can do that and make it work, you can tell if you listen like you said, but hey his weird version still sounds better than mine when I play it using upstrokes and a pull-off.
I just can’t get near his speed and accuracy.
With players like Yngwie, I think you have to try and separate the intention from what is actually played. Whilst I’m not saying most tabs are accurate, but in YJM transcription, there are often different rhythmical groups of 5s, 7s, 11s etc. His fastest stuff always flows over beats and those little inefficient blips are all burried in there. IMO, this is the fire and fury that he captures and why I love his playing, but a learners nightmare.
I would seek out the intention and go for what works for you in the context of the piece in terms of the mechanics you employ. When you are blasting the fast YJM nobody (accept Troy maybe! 
) are going to hear the absence of those mechanical blips, or care for that matter.
