Myths debunked by CtC

General Music Discussion
#1

I’m curious as to what things we have found to just be “not true” due to the findings of CtC.

I’ll go first:

All my guitar playing life I’ve been an uwps-er. Obviously I never had a name to refer to it by like we do now, thanks to CtC.
BUT…I’ve always thought that my picking technique was wrong. I had no idea that uwps was a “thing” and that “thing” was actually a bona fide legit technique. I spent a LOT of time not playing in a way that would have been more natural and would have yielded better, faster results had I simply embraced it for what it is. Instead I avoided certain patterns, picking techniques and picking directions because I thought they were wrong!
Now, because of CtC I know that my technique is NOT wrong and I finally feel that I’m on the right path!!

What obstacles and myths has CtC debunked for you??

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#2

It has debunked the notion that 2wps is superior to a system like Yngwie’s.

Prior to CTC I was of the belief that the pick should be perpendicular and that 2wps was something to aspire to, that it was the best way to play a variety of material. I think I got the notion from “Speed Mechanics for Lead Guitar” over 25 years ago.

When you look at a dwps system like Yngwie’s and his body of work, you realize that he has the best developed system. The “rules” or “restrictions” allow him to play more musical passages like ascending and descending fours.

We can hold up 2wps as an ideal, but there are many things that can’t be played with it because of the “symmetrical” organization of notes that it entails.

CTC made me realize, that what I’ve been doing is crosspicking, and that where I have failed is when I try to use it for real velocity without 2wps. My current playing is a combination of crosspicking, legato, and speed runs that don’t require any pickslant changes.

At this point, I realize that many of my fingerings, things I’ve practiced with the left hand are probably easier to achieve with Yngwie’s system, and I’m fine with that. For instance, I’ve spent a ton of time practicing sequences of fours, with (essentially) crosspicking. To take them to the next level of speed would require an otherworldly 2wps technique, or just conceding that the best way to play them is with some legato and economy picking mixed in.

I think Yngwie’s system is an example of “music first”; he hears the notes that he wants to play and developed an incongruous system to allow him to do that. Systems like Gilbert’s and MABs seem to be more about making music with patterns that have a dexterous advantage. IOW, technique in the name of speed was the primary consideration.

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#3

That picking speed (or lack thereof) was the product of specific motion mechanics, and if only you were an elbow/wrist/circle picker, all your problems would be solved.

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#4

I’m curious…
I’m an uwp slanter and I’ve always struggled with the Yngwie type methods.
Do you feel that uwps is an equal albeit different type approach to accomplish the types of things you described in your post with dwps?
For example,
I’ve struggled with the Yngwie 6 note pattern. However about a week ago I started practicing it beginning with an upstroke first. Suddenly, for the first time I’m getting it!!
I’m beginning to be able to move it up and down the high E string using the E minor scale (similar to what Yngwie does) and I’ve begun to also play through it using 2 strings.
It’s not exactly the Yngwie way but it’s still going to work in the long run…

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#5

Yep, that was an eye opener for me too. Once you realize that there are many ways to the end zone it gives you something hone in on.

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#6

I’ve just started working on the YJM patterns so I’ll have to let you know how it goes. I’ve decided to delve into the “downward side” of playing and try to force myself to do it that way. Personally, I would try to use the same picking as Yngwie so that you don’t have to rethink every one of his licks.

I have been a primary UWPS, but I’ve been playing long enough that its pretty easy for me to switch to DWPS. The picking motion is actually the same; rotating my forearm switches from upward to downward.

A simple exercise I’m working on is tremolo picking with a metronome and switching from UWPS to DWPS while staying on the same string. I do it with triplets like I was doing 3nps scales. To me they both feel the same, its just how far my forearm is rotated which decides which way its slanting.

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#7

I was exclusively an UWPS. For the longest time I could never figure out why Eric Johnson and Yngwie Licks gave me so much trouble. I was surprised at how natural it was to switch between the two.

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#8

For me one of the coolest things is having the slow motion video contradict what players believe they’re doing.

“So what I’m doing is X…”

rolls tape

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#9

Another myth that’s been busted is that I always though that the top players were capable of doing just about anything they wanted on the guitar.
Little did I know that’s not at all the case. They play to their strengths.

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#10

Yeah me too! I used to think that John Petrucci was able to play whatever he wants at any speed he wants… wait a minute! He can :sweat_smile: sorry I’m just a fan boy. Well although it kinda disappointed me when he covered Master of Puppets using alternate picking you know.

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#11

John is amazing!!
I remember watching a video of Troy talking about how as a younger musician he (we) tended to think all of the greats could just do it all. He went on to talk about an improv situation where we, as listeners hear these great players seemingly doing what they want at will. But the reality is, is that all of these improv moments and licks have been carefully practiced and have become part of that player’s vocabulary so much so that they can play those licks at will.

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#12

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#13

I dunno. seems legit

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