Okay, so I stumbled onto something unexpected. It’s weird as heck and kind of different from my single escape stuff - and that’s okay because it works as long as I do it properly. Troy and Tommo helped me get to this point, so thanks to them for their patience. @Tom_Gilroy was and has been extremely helpful as well as the cool cats on the forum.
My “homework” from my last technique critique is to “smooth” it out and actually things have been going well; as clunky and clumsy as it sounds here it’s evolved quite a bit. I included a rough-ish/sloppy as heck video of an Fmaj - Emaj to an A Harmonic Minor scale run that should show what the basic motion I have looks like. In an effort to “smooth it out” however, I seem to get a bit lazy with the rotation aspect? Or perhaps that IS the smoothing out process? I don’t know. It seems that if I keep disciplined with the rotation things “escape” better. Buuuut if I exaggerate the rotation it seems to cut into speed. Maybe everything is going the way it should and it just needs time to bake. I am trying hard to pay attention to what I do so that I don’t mutate it into something different. Hopefully I am not already doing that.
I also included a very, very rough (and slow) video of Paganini Caprice 16 (just the first repeat) for reference. Yuck! Lazy rotations here as well, I think this happens every time I film! lol But it’s a good reference. I’ll keep posting a (hopefully) better version of that as I progress. Once a week or something. I have this really awesome Andy Wood lick I am working on as well, and that’s what I want to present at my next technique critique. The notes for that one are almost all learned!
I do have a question or two to anyone who can do a fast forearm/wrist rotation with a trailing edge grip on a single string (Or anyone lol);
-
How did you build up speed? I can do a tremolo at about 16ths @152 if I work up to it (Although honestly, my single escape does tremolos very well). This is a very new motion to me and it feels a bit, ummm lopsided at times - like driving with a flat tire if that makes sense… Probably because the arm isn’t a perfect cylinder and the rad/uln twist ends up with a kind of weird “rolling bowling pin” thing.
-
Do you “float” your arm above or do you “rest” or “reference” on the guitar body somewhere? Any recommendations?
Any and all thoughts are welcome of course! Lemme have it! Thanks in advance, everybody! 
