Ricardo -> RE: Picado journey to >160bpm (Oct. 18 2016 16:43:29)
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ORIGINAL: turnermoran Thanks Aretium. Though that's kinda my point: that part I got. Or at least that's the quest: to do it perfectly every time. but doing it on one string is say, 1 vector. Now repeating it across strings is a second. And in a passage, some string get plucked 2x, some 3, some 4.. that's another. But I digress. It's mainly the switching of strings, since it can affect wrist position, location of RH thumb, shoulder stuff (if one uses Paco's technique), etc etc so are there specific things you (or anyone) worked on to address the second vector? Just "going" slow doesn't cover it I think. Since when you're playing 4 notes per beat at 150 and up, you're not going slow! :) It may have more to do with the specific passage you are hitting a roadblock with. For example, if it is just a simple scale up or down, one thing I like to do is experiment with left hand fingering variations. The goal being the Right hand to function like a mindless machine at high speed, coordinating with a clever left hand. I used to work on fast alternate picking things and translate similar principals to I-m picado (simply put, i= down pick, m=up pick). Take a 3 note per string scale pattern fairly high up on the neck (no open strings) and see how you manage it up and down. What happens is the right hand has to become ambidextrous with crossing, as 3 on each string when alternating means you deal with crossing with either finger. If you can achieve this at the speeds you want, then you know the right hand is in good shape and your hiccups are possibly do to coordination between left hand fingering and right hand mechanics. If you find the same hiccups occur with 3 note per string patterns, then you need to get your right hand working. Start with crossing one string, then two, then 3 etc, until you hit that problem spot. Make the problem note somehow rhythmically superior, i.e. The downbeat of the phrase, and push your self to really nail the problem spot. You can do this with any passage that gives you problem, simply make a loop of the phrase, or short piece of the phrase, such that the problem spot becomes your main focus musically. Ricardo
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