Tom thanks for the explanation. Would you be able to give me an actionable example so i can better understand? for example i am trying to learn sweeping, Sextuplets at 125 BPM. Ignoring the right hand part. What would be the correct learning process for the left hand?
Thanks for chiming in, Tom. That actually makes a lot of sense
Dean Lamb often mentions doing exactly this for sweep picking and I believe for alternate picking. He says itās essential to get better timing at ultra fast speeds.
I think thatās what for example Jon Bjork calls ātransition speedā, i.e. trying to make the movement itself still as fast as possible but then wait in between to match the tempo. So essentially in order to not fall back to a slower movement alltogether even though the tempo is slower.
No problem!
Iām glad to help.
I donāt mean to be obtuse or to deflect, but I think this would be quite difficult to do exclusively through text. As I said above, this is a deep topic. There are a lot of prerequisite concepts to understand the āwhyā behind everything, and different examples are required to demonstrate different concepts clearly.
We have to begin with a fretting posture based on the resting position of the hand which is both maneuverable and naturally aligns the muscles to task. There is no universal fretting posture, there are different archetypes each with their own strengths and weaknesses, so we need some idea of which posture or postures will be suitable.
That much in itself is a huge topic (at least a few hours of instruction), but assuming we have that, we need to solve for fretting sequence which avoids bad cases, which minimizes movement reuse frequency and which facilitates fretting hand flow (that is, the fingers used must result in the hand moving in the intended directions).
Then, we need to start working the fretting sequence on the guitar. With the understanding that we will not be able to achieve the type of fine control that was described in my previous comment at speed, our goal is to find the gross āmaneuverā of the fretting hand which will āaimā the fingers. With the understanding that movements will inevitably become smaller and less powerful at higher frequency, itās actually better to start with large, powerful movements which feel easy.
See my comment about Fittās law and forced oscillators here:
More than that, we need the gross maneuver of the fretting hand to be rhythmically regular and clearly perceptible. We need to be able to feel the pulse in the gross movement of the fretting arm and hand, not just the fretting of the individual fingers. In order to synchronize with the picking hand, we need to ensure that the gross movements of the picking and fretting hands and arms have compatible movement phase. If we can ensure this, synchronization is immediate, automatic and stable.
Then, we train for speed as Iāve outlined in my other comments.
Most sweep fingering have been sufficiently well āvettedā at this stage, so assuming that you have the appropriate fretting postures and the understanding the situational movements that are used to reduce movement frequency (the rock, the roll and the reveal), you can get started in applying the fretting sequence and trying to find the gross maneuver as described above. There are some optimizations I could suggest for specific shapes, but the usual fingerings for most of the standard 1 and 2 octave major and minor shapes are reasonably good.
Never ignore the picking hand.
Itās fine to do some repetitions without the picking hand to allow you to focus on feeling the rhythm of the gross maneuver of the fretting hand, but itās critical to understand what the picking hand will be doing and relate them to eachother. If we focus on playing everything for the fretting hand with hammers or pull-offs, weāll force a sequence of fretting actions which is not representative of the version which incorporates picking.
More than that, we need the movement phases of the picking and fretting hands to be compatible to ensure synchronization. Starting with each hand separately and trying to combine them can result in building two one-handed coordinations which are not rhythmically compatible and which cannot be synchronized. Trying to match individual pick strokes to individual fretting actions will not produce stable synchronization if the gross rhythmic movements of the hands are not in phase.
Iām quite busy this weekend and I really donāt have time to write up a complete post that goes into all of this in more depth. I should have some time on Monday and I might be able to make a video discussing some of these ideas and provide an example.