how to get to 180 bpm?

  • Thread starter Thread starter wannabecomedeat
  • Start date Start date
I would play the 5's with the same finger (pinky). You want to try and "roll" your finger across the fretboard as you sweep, or give it a slight palm mute to prevent the notes from running into each other.
 
wannabecomedeat said:
thanx mikemorgan,

I'm doing this right know.

and just to let everyone know, a jackass gave me neg rep point for this thread writting: "I gave rep points to everyone here as well...for wanting to learn how to play garbage at 180 bpm. Try playing something that sounds good instead."

I don't think I deserve negative rep points for this thread, as I don't think mastering an instrument is something wrong. Ask anyone that went to University in music how much time they passed playing scale...This noko didn't even sign.

At least he didn't have a lot of power, considering that I lost only 1.

anyway, the 2 questions 2 posts upper still needs some answer!

Don't sweat it - I got anonymous negative rep points for using the word 'dividends' and being British recently :rolleyes:
 
wannabecomedeat said:
Sorry for the mistake, not familiar with english cotation. Here we say ronde, blanche, noir, croche, double-croche, triple-croche, etc!

thanx everyone, great info here, couple of hints.

i got 2 other questions though.

when doing the arpego, do you keep doing alternate picking or start sweeping instead? probably both is best i guess?

and suppose you do this major arpego

-------------3-
-----------3---
--------4------
-----5--------
-2-5----------
3-------------


do you play the two "5" with the same finger (aka third finger) or play the lower one with 3rd finger and the other one with small finger??

thanx again everyone, I gave rep points to everyone here I think!

Hey Wannabe,

When playing arpeggios, if playing notes on a common string well then yes alternate picking is the go however when executing the arpeggio where one note per string applies you sweep pick and the last two notes of the arpeggio in this case would be played with your first finger.

The two "5" notes you would either play with your pinky or third finger and roll off the notes as played. If you practice and play a lot of barre chords you could probably execute the two "5" notes with your third finger and pinky.

Also note that when you play an ascending arpeggio your picking will be all downward except if two notes share the same string. When playing descending arpeggios your picking will be upward except if two notes share the same string.

To execute these arpeggios cleanly you need to remove your finger from each note as you finish plucking it to give each note it's individual sounding. A little trick is to let your pick come to rest on the next string after each note is played. Palm muting is another advantage when the executing of arpeggios is attempted.

I hope I haven't confused you! :)
 
Last edited:
Gorty said:
I hope I haven't confused you! :)

NO it's okey, pretty clear :D

and I tried the left hand alone, I can go up to 155bpm when not picking, stupid right hand!

at this speed it remembers me I fucked my hand up this summer in mountain biking, my pinky's joint hurt bad. I think a nerve is stuck. I had the same problem with my second finger of the same hand (left one), but this one "repaired" itself after one month. Don't know what's going on with the pinky.

ahhhhhhhh anyway, thanx
 
wannabecomedeat said:
NO it's okey, pretty clear :D

and I tried the left hand alone, I can go up to 155bpm when not picking, stupid right hand!

at this speed it remembers me I fucked my hand up this summer in mountain biking, my pinky's joint hurt bad. I think a nerve is stuck. I had the same problem with my second finger of the same hand (left one), but this one "repaired" itself after one month. Don't know what's going on with the pinky.

ahhhhhhhh anyway, thanx

The trick is: Steady Steady..... :)
 
I've been playing neo-classical shred for about 15 years now and have most techniques licked. Best advice I ever heard was from Michael Angelo Battio (whether you like him or not his technique is amazing):

Pick one note up/down as fast as you possibly can. This is your "current max picking speed". Analyse the way you are holding the pick, wrist position, arm angle, guitar position etc. Everything you play, at no matter what speed should have exactly the same technique. Most guys can play really good at slower speeds then everthing falls to shit when they speed up. Reason being they are changing their technique with the increase in speed. Solution, play everything with the same technique - your maximum picking speed. Maximum picking speed can increase significantly with practice - check out Franseco Fareri for the fasted picking out there (horrible music though). Good downloadable videos that show this can be got at:
www.theodoreziras.com (amazing clarity and speed - loads of free video downloads)
www.rustycooley.com (unbelievably fast)
www.angelo.com (very clear and very fast)

Also, some of the other posters made good points like soaking your hand in hot water, it helps a lot. Also, if you are recording, try downing a few expressos so you get the jitters, always helps me play those crazy runs a little faster;-)
 
wannabecomedeat said:
-------------3-
-----------3---
--------4------
-----5--------
-2-5----------
3-------------


do you play the two "5" with the same finger (aka third finger) or play the lower one with 3rd finger and the other one with small finger??

thanx again everyone, I gave rep points to everyone here I think!

Fingering as follows: fingers a,b,c,d (d is the little finger)

------------b--(can also be changed for "a" depending on next note)
----------b--
--------c---
------d----
--a-d------
b-----------

There are no real rules, just whatever is comfortable. Check out Theodore Ziras and Frank Gambale for two different approaches to sweep picking, both very accurate, both with very different fingering techniques.
 
Dude,

Rusty Cooley is soooooooooooooooo fast, unbeleivable you can pick that fast and not screwing 3 notes out of 4.
 
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