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<br/> <b>Strict Standards</b>: Non-static method BP_Options::get() should not be called statically in <b>/home/actidemann/</b> on line <b>9</b><br/> technique : hybrid legato/alternate picking « The Kurt Rosenwinkel Forum

technique : hybrid legato/alternate picking

(8 posts)
  1. filters

    Hi all,

    This forum is really cool. Lots of good stuff !
    Recently I've been trying to change my technique. I'd like to play faster lines ala Mike Moreno/Lage Lund. I tried to practice alternate picking for 3 months and there's some progress but I realize that to get a more Moreno-like feel I should practice legato. I don't really like pure legato (one stroke and the rest pull off and hammer on). So I'd like to work on some hybrid legato+alternate picking.
    I tried to play simple things at first (one string exercice, scales) but I don't know when I should pick
    for example : 1-3-5 (on any string). Do you pick the 1 and 3 (and hammer the 5) or the 1 and 5 (hammering the 3)?

    Both might be cool but I can't find a way to sound good, especially when I change the string and try to play a full scale pattern.

    Anyone is practicing this technique? Anyone might have some book reference or videos?

    thank you !

    ps : sorry for the english, I did what I could!!

  2. animitta

    Hy Filters,
    for this kind of picking etude i will strongly raccomend you to check for this book from Jimmy Bruno:
    Jimmy Bruno - The Art of Picking
    It was great for my picking also if i still suck : )

    All the Best

  3. Sandemose

    filters: this stuff is so hard since its so individual. I once in a time was very occupied by this stuff. It didnt help me much, what helped was just playing alot. Still, I dont deny the fact that you sometime have to sit down with certain things and just deal with them. When the playing is controlled/limited by a systemiced technuiqe, I think there is something wrong. It should be the other way around, your imagination dictating your body. The better technuiqe you have, the more options you have, the vider the vocabulary you have access to, the more sensitive your dynamics/touch are/is the more transparant your body will be. The body is a prerequisite for the soul (or what ever is inside of us) to express it self. At the same time, the body limit the freedom of the soul. At times they get really close/tight and there might be a lift off.

    Sorry for that quasi phiosofical drivel. This is what I do:

    Which technuiqes is there at all?

    Picking, legato, sweeping, hybrid, etc.

    If I would practice tech. for lets say 1 hour, I would spend at most 15 minutes of just plain technuiqe excercises. Legato chromatically ascending/descending in some patterns, really focusing one doing it correctly. Then I would play, as I always play over changes/tunes what ever. Same thing with picking. Some basic exercises playing scales, arpeggios and what not, concentrating on sound and touch. Then I would just play for the rest of the hour as before. What I think happens is when you reenforce repertoir of technuiqes parallell, they all will contribute to your arsenal, providing you different options for different situations. When you are in those moments, you wont have time to think, what ever happens happens sort of.

    For meself, I hate my technuiqe. I dont trust myself, if you know what I mean. I would like to have a perfect picking tech, with a very transparent pick touch but with the range dynamic posibilities picking provide.

    Good luck!

    Best, Sandemose

  4. Pascau

    If I'm practicing something like that, I let the sound I want dictate where the hammer ons/slides etc go. For example, usually hammer ones will sound at least a little bit quieter than a picked note, so I would pick where I want the emphasis in the line. I think thats something that after a while you'll start to do naturally, but I remember switching from gypsy style picking to alternate picking for one my college teachers. It took ages, but it was worth it, as I can now mix both.

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  5. Colonel Trane

    I would try to stay away from practicing pure alternate picking and use economy picking instead (starting everything that goes down a string with a downstroke and up a string with an upstroke regardless of previous motion). For the legato I agree with Pascau to let the sound dictate where you pick.

  6. david6strings

    i think the more you pick in the weak eights and the less in the strong the more it swings following the first exemple in a loop

    pick 1 ** pick 3 then hammer 5 pick 1 hammer 3 pick 5 pull off to 1 **pick 3 then you got the pattern

    but not in a way so rigid you can pick the first eight of each beat and try to hammer on, pull off or slide to the second eight of each beat. of course when you play you don't have two do this on each and every beat, just for study you can do it

  7. Quintricacy

    I pick the second way you mentioned, Filters. I hammer the 3 and pick 1 and 5 and it works for me but as said before, in the end it's all down to the individual.

  8. andrew jazz

    I think it depens from what style you are playing. for example I cant play legato in gipsy style tech. but I saw last video with Bireli Lagrene, he played on gipsy acoustic guitar with hybrid tech. it was interesting and I liked it more than tradition gipsy style. I think we should play what we hear in a moment when we play.


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