Why faster when doubling up triplets on same string?

Playing Technique
#1

Hello All - Last year I picked up a guitar for the first time in about 20 years and became completely re-addicted. I played in Thrash/speed metal bands in the late 80s/early 90s but always had to cheat with legato because my self taught picking motion had an oddly low speed limit, wherein tension would build up in my wrist. When I started back up again I vowed to correct this so I started with a completely different technique which has taken me months to get back up to speed, so to speak. That was hell, but I am now completely back to my former skill level plus can play a few specific things way faster than ever with zero tension.

However, I’ve noticed that I can really only hit lightning speed on these fast (3 notes per string) multi-string runs when I double up (play the three note sequence twice on each string), except for the first string that I use where I only play the three note sequence once.

Is this just because by doubling it up it’s an even number of strokes on each string, and for some reason this makes the transition easier? Or could it be some kind of mental block, and not “physical.” Any ideas for why I can’t play three notes per string as fast as when I double up three notes per string? The speed difference is around 40bpm! - which to the ear is the difference between a boring scale and a killer bubble-ish sounding run! Thank you for any feedback.

#2

Assuming you’re starting all this on a downstroke, the reason why is because you are DSX (downstroke escape). The sort of scale pattern you are talking about, 3 notes, then 6 thereon, is frequently called Gilbert Sixes around here. If you look at all the string changes, you are always leaving a string on a downstroke, hence the name downstroke escape.

Do you know what sort of motion you are using? I’d certainly give the Primer a thorough watch since you’re a subscriber!

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#3

My theory has always been that it reduces string changes (roughly halves them), which is where people tend to be their slowest.

#4

Thank you. I’ll check out the Primer and report back, but the DSX definitely seems like a reason to be faster when going to the next string. Never heard of Gilbert sixes, so thanks for that too.

#5

Thank you. I was also wondering if the extra time on one string provides kind of a short break before having to make the next string change.

#6

Nah, this is 100% the “Gilbert 6s” motif.

Are you familiar enough with the concept of picking “escape” from the primer yet? Basically, that, while there’s a lot of ways to efficiently “escape” the plane of the strings, and use the movement of the pick itself to lift it up and over the strings, one common one is picking with the pick moving at a pretty straight linear angle, and one of the two basic variations on this is “escaped downstrokes,” where as you pick a downstroke, it’s angled to rise slightly up and awy from the body of the guitar, and then reverse and n the upstroke it’s “buried” back inside the plane of the strings. This escaped downstroke, donstroke escape or DSX as you’ll commonly see it described here, makes it VERY easy to change strings after a downstroke, and much harder after an upstroke.

So, think about how this plays out with the motif you described. Three notes on one string, then three notes repeated on the next, then three notes repeated on the next, etc.

First string - you pick down-up-down, and change to the next string ater a downstroke. Mechanically efficient - fast!
Second string - coming off a downstroke, your next three strings are up-down-up, and that upstroke is buried. It’s not mechanically efficient to changestrings after it. So, repeat the three note motif, and that gets you back to starting on a downstroke, down-up-down. You change to the enxt string off a downstroke, which is mechanically efficient, and in turn… fast!

Basically, any sequence of an odd nymber of notes on one string, starting with a downstroke, will have you changing strings starting on a downstroke, and will facilitate a mechanically effieient string change. But,that nezxt string you’ll be starting on an upstroke, so from there on out you want an even number of notes per string, so you start on an upstroke and end on a downstroke.

There’s nothing magical about the repetiction of the three notes, as pitches, themselves - I do a lot of variations of this motif where I shift position for the second group of three notes - or the number three itself, save that it really lends itself to triplets. You could easily come up with a similar motif with five notes on the first string and ten on the second, or five with a couple pickup notes somewhere and then move to groups of six thereafter… or, as I’m writing this, it’s occuring to me I really ought to start practicing pentatonic runs starting with one note on one string and then two notes thereafter, as that’ll also flow very naturally.

EDIT - by the way, it’s called the “Gilbert 6’s” pattern because of the fast run at the end of the “Technical Difficulties” theme, which uses this pattern to pretty killer effect.

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#7

Ok. Yes, in my question I threw out the odd/even notes possibility (but had no concept for why) and your very detailed and helpful response really explains it, and even seems like there is a way to potentially mitigate some of the challenge of changing right after an upstroke. Also appreciate the added suggestions for alternative note groupings to take advantage of the Gilbert 6’s. While you do pentatonic runs, I’ll hit the primer (response above also suggests this), which I should’ve done before posting. Thanks!

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