Technique critiques shared by Fishbonebeau.
This is a phrase I learned some time ago somewhere on YouTube but it really started clicking tonight! My hand sync and gypsy style USX really felt good so I just wanted to capture it from the magnet angle which the magnet just recently arrived in the mail. Tonight really feels like I had a major breakthrough!
Fishbonebeau
This pattern was the last assignment given to me by Tommo on my last critique several months ago. I haven’t worked on it as much as I would like to and so no real significant break through’s. It’s a little discouraging that I can’t seem to get both hands in sync. Single picks per note like in this clip are especially difficult.
Fishbonebeau
This “cracking the code” program, in all my years of playing the guitar, has been such a fun adventure with many interesting curve balls. Breaking down every component and solving each problem has been quite perplexing at times. Every challenge, along the way, has forced me to zoom in and analyze the issue more meticulously but this latest curve ball has yielded surprising results unlike any other. I kept trying to maneuver around the problem of alternate picking/navigating across the G, B, & high E string. The problem that seemed to persist was the conflict between the palm of my picking hand (part of the palm just below the thumb) and the lower strings, especially the low E string, when trying to navigate the pick across the higher strings. It seemed that the most obvious solution was to somehow raise the picking hand out and away from the string plane just enough to provide clearance and alleviate the conflict between the palm and the strings. I was reluctant because I didn’t know how I would do it without drastically changing my overall form and everything I’d learned so far. But I tried it anyway and the results were very surprising! Although I was unable to prevent it from making a drastic change to my overall form it was worth its weight in gold! Making this adjustment forced my picking hand into a different position which converted my overall form from an upward pick slant player with a downstroke pick escape, to a downward pick slant player with an upstroke pick escape. In addition, this also caused me to change my picking motion from exclusively elbow to a combination of elbow and forearm rotation. Raising the picking hand away from the string plane changed everything but it solved the conflict between the palm and the low E string when trying to cross over multiple strings. It feels so much better now I must admit I think I had some help from the man above discovering and solving this issue but I truly believe I’m on the right track now!
Fishbonebeau
Hope there is some improvement regarding speed I haven’t been able to practice as much as I’d like. Hopefully this is helpful in observing any changes since the last critique.
Fishbonebeau
In one of your lessons you used the “fast car” as an example referencing the quest to find one’s fastest most efficient picking motion. And the need to stick to your fastest movement because you can always slow it down to help gain control and train the left fretting hand to slowly work up to the faster speeds. That seems to be where I’m at now. My fastest movement is from the elbow joint as is probably obvious in the video… so the challenge is slowing that movement down while preventing it from morphing into an entirely different movement. It’s very difficult to do while keeping the same exact movement. Easy to do it fast on just one string, but also very difficult to maintain the same movement over multiple strings. Any suggestions on how to establish a slower speed, maintaining the same form, so I can now focus on the left hand?
Fishbonebeau