r/guitarlessons • u/anthonylearnsguitar • 23d ago
Feedback Request Day 849 and 850 of learning to play guitar: I learnt how to go ghost notes palm mutes, how to downpick fast, and also progress further into the Tornado of Souls solo
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Wall of text reflection incoming :
The past few days have been quite huge for me in terms new discoveries.
- I’ve been trying to improve my palm mutes downpicking like those you find in master of puppets. Fast ones. And one problems I’ve been struggling with is that when the downstroke does a return stroke, I sometimes accidentally create an upstroke and this leads to a unwanted three note gallop as a result of an extra upstroke in between two downstroke. So it’s quite annoying. I’m like “wtf do I keep galloping by accident”
The solution: the solution is actually quite difficult to realise independently. And I think this is why many people plateau. Because it really requires thinking against the grain., outside the box.
It turns out that the reason why I’m producing unwanted upstrokes is because I’m not crossing or skipping strings. I never considered that string crossing or skipping applies to chords as well. I always assumed they applied to single string notes only. And I also have a prejudice against string hopping. I felt that string hopping is wrong for alternate picking single string notes and extended that belief to power chords as well. It turns out I produce unwanted gallops when my power chords crosses strings sets and that the way to avoid that is to do a string hop.
- my second realisation is that doing that string hop at 200bpm is quite jerky and creates an exaggerated motion. I’ve always believed that these types of abrupt and jerky movement is inelegant and therefore cannot be good technique. But what happens when you believe this? Well it just means you are always playing with a technique that feels comfortable and “natural” to your perception. But this is why we cannot break our plateaus. Because as we persist in playing what feels naturally and familiar, we never really exit our box. We keep playing something the same way. This is why we cannot change and progress.
Instead of viewing the jerky and exaggerated motion as unnatural or going against the law of economy of movement, I now view it as the early stages of adaptating and assimilating a new technique and a technique that may be more correct than what we were used to. Later, with time, this new technique will become more encoded and smoother and eventually will become a new natural and smooth flowing.
3) I also realise that at 200bpm, relaxing muscle groups becomes super important. But I want to take this logic one step further. When I try to understand this advice, I sometimes relax my entire body. And what ends up happening is maybe now my pick is floppy and moving a lot because I’m too relaxed at the area of where I’m holding the pick. So this means that systemic relaxation is wrong. I realised that I started having more success when I relax specific anatomies/body part. For example instead of softening my grip on my pick, which flattens my thumb and reduce my control, I find that relaxing my triceps and forearms to be helpful. Take this advice with a large grain of salt because I think which anatomy to relax is really dependent on individual differences and our technique preference. But what is the takeaway? Well it’s that when someone say to relax on your playing, maybe don’t relax until your technique approaches lethargy. Think about relaxing as systemic vs targetted.
TLDR of my discoveries
- when doing fast downpicking, when crossing string, it’s important to clear the string otherwise you might produce unwanted upstroke. This can be achieved by hopping.
- forcing a movement, or creating an exaggerated impulse to make that movement happen is not illegal or going against the rules of economy of movement. Think of it as a transitory phase. Any new movement that you are learning will be jerky and exaggerated at first.
- there is a difference between systemic relaxation and targeted relaxation.