Well I don't really think it's to do with style, just common sense really.

Check this:
Bar 2.

|---------------------------------------------------
|------------------------------------16-------14--
|-16-13----------16-15-------15---16-15------
|------13------13-------16-13-------------------
|--------14--14------------------------------------
|----------16---------------------------------------

Notes 13,14,15,16 - If you were using 1 finger per fret, it would mean you'd have to barre the 16th fret with your pinky, come down onto your ring and change string and use your middle. I'm saying it's stupidly hard, but it can be made alot easier, in my experience, it's very rare to find anything that requires a 4th finger barre, especially on the higher strings/frets.
|---------------------------------------------------
|------------------------------------16-12---14--
|-16-13----------16-15-------15-------15------
|------13------13-------16-13-------------------
|--------14--14------------------------------------
|----------16---------------------------------------

Changing that one note (16th on G string to 12th on B string) makes that bit easier.

Or you could shift that whole section so the G#min arpeggio is here:

e-7----------------------
b---9------------12-11-
g-----8--------8--------- etc
d-------9----9-----------
a---------11-------------
e-------------------------

[QUOTE=MRDuCran]Well I don't really think it's to do with style, just common sense really.

Check this:
Bar 2.

|---------------------------------------------------
|------------------------------------16-------14--
|-16-13----------16-15-------15---16-15------
|------13------13-------16-13-------------------
|--------14--14------------------------------------
|----------16---------------------------------------

Notes 13,14,15,16 - If you were using 1 finger per fret, it would mean you'd have to barre the 16th fret with your pinky, come down onto your ring and change string and use your middle. I'm saying it's stupidly hard, but it can be made alot easier, in my experience, it's very rare to find anything that requires a 4th finger barre, especially on the higher strings/frets.
|---------------------------------------------------
|------------------------------------16-12---14--
|-16-13----------16-15-------15-------15------
|------13------13-------16-13-------------------
|--------14--14------------------------------------
|----------16---------------------------------------

Changing that one note (16th on G string to 12th on B string) makes that bit easier.[/QUOTE]



honestly, i would play it that way BECAUSE it is harder that way. I always try to learn the hard way first, and then learn short cuts afterwards. Similar to math class id say

the using of the pinky on the 16th fret was the main problem, i make always a mistake, but through playing it, i strengthend my pinky and technique.... lets see how you will play it in the end :thumb:


edit:
guitar is like philosophy - everyone has another access to it. Mitch is rewriting stuff to make it easier. Che likes to play it as hard as possible, cause afterwards the less harder things, are suddenly easy (ps.: i read your column in the guitar lesson site :thumb: )

are you talking about the thread where i stated its not strength, but coordination?


Im honestly thinking about going back to school to teach music/guitar

oh, sorry, i was talking about[URL="http://www.sputnikmusic.com/lesson.php?lessonid=109"] this[/URL].
i had in mind it was from you

teaching guitar? how old are you? did you once go to a guitar-school, or something like that?

im 23...

not i never went to school for guitar, yet...


and if you notice, mattihas, or whatever his name is, actually gave me credit because i helped him on that, or filled in areas that i felt needed to be addressed.

I think what helps me relate guitar better than most is just due to the fact that i havent been playing long, and have made all progressions by myself so its easy to relate

[QUOTE=repcak]the using of the pinky on the 16th fret was the main problem, i make always a mistake, but through playing it, i strengthend my pinky and technique.... lets see how you will play it in the end :thumb:
[/QUOTE]

I can already nearly play it at 110 the way I play it, I just need to actually remember it.

[url]http://download.yousendit.com/AF8A328A0FBFEDE4[/url]

Here's a powertab I made with a bunch of random variations.

I can play "D" and "F" smoothly already.
F was how I originally worked it out as, but I don't see the point in sliding that much if it's not nessessary, so I'm going to go with D.

oh, well, than it were you both, who made this lesson ;)

[QUOTE=MRDuCran]I can already nearly play it at 110 the way I play it, I just need to actually remember it.[/QUOTE]
i start to dislike you :p

repcak, i seriously think you quest for "speed" is hindering your progression. You need to define yourself as a guitarist in other terms

in what terms do you mean.
i play metal and most metal songs are relative fast ... so without speedprogression i cant play them

[QUOTE=repcak]in what terms do you mean.
i play metal and most metal songs are relative fast ... so without speedprogression i cant play them[/QUOTE]



well, thats true for anyone who plays metal mind you. I just see you, as in my shoes about 4 months ago. You want to play "this" fast, but you can only go "this" fast, and you need to bridge the gap...

The problem is, with the way you are tackling it, and the way i WAS tackling it, you would only make marginal progress every few weeks or so, and it would literally take you years to get to that point

this is based on playing your fastest at a certain BPM for SO many hours, and gradually increasing.

I find it works MUCH better to get rid of you idea of the higher the BPM, the faster you are playing, or will be able to play. In all honesty, you find yourself playing faster when playing slower. Why is this? I'm a firm believer, that in order to play FAST (circa 160 bpm and greater) that it needs to feel "natural"

My way of justifying this is, if you look at ANY guitarist that you or I would consider good, and who can play fast, it looks easy as hell to them, no?

So the real question should be, how do i play fast and comfortable. I'm sure you are not aware, but lets say you were practicing for an inderterminate amount at your TOP speed, you would actually find yourself tensing up, thus limiting your muscles that are involved in the process. The only REAL way to over come this is to play at a speed you feel comfortable with, perfection included.

I found myself making huge leaps in terms of progression when i changed my attitude towards practice. If you saw what i practice daily, you would probably be bored to tears. I will say, that my left hand technique is getting EXACTLY where i wanted it to be, but didnt think it was possible

hm... that sounds logical what you're saying.... hm... but then, when i play as fast as it feels comfortable, when do i know when i can speed it up? i mean, when i can play swamphell at 60bpm comfortable ... eh no... i don't even play it comfortable when i play it at 40bpm :upset: , when do i know that i can play it faster?
and can you show me the things what you're practising daily, what you think will bore me?

[QUOTE=repcak]hm... that sounds logical what you're saying.... hm... but then, when i play as fast as it feels comfortable, when do i know when i can speed it up? i mean, when i can play swamphell at 60bpm comfortable ... eh no... i don't even play it comfortable when i play it at 40bpm :upset: , when do i know that i can play it faster?
and can you show me the things what you're practising daily, what you think will bore me?[/QUOTE]


its not so much the type of exercises really. You could get a lot from playing the same exercise every day for two years.

The best thing i could say is to find what is most uncomfortable, like say those double 16th fret pinky rolls from that tab, and just practice the hell out of it.

if you can feel comfortable, lets say at 100 doing a certain exercise, find an exercise that is extremely difficult for you at 100. Instead of just slowing it down then working it under, try to find out WHY its so hard for you, and work on that.

ok, i will do it :thumb:

and one more question to this "comfortable" thing... should i practise things with an metronome or should i play it without ?!

well, i kinda ride the fence on that one. If you think you timing is GOOD, it may not be a benefit. I know when im working of phrasing, i really dont need a metronome.


I would say, take a break from the metronome all together. I think it would definitely help you to be more lax in your practice, which would help releave some tension.


god i suck at spelling :lol:

I got Swamphell up to 100 first try, give me a few days practise and I should have it to 110.

[QUOTE=Che Guevara]its not so much the type of exercises really. You could get a lot from playing the same exercise every day for two years.

The best thing i could say is to find what is most uncomfortable, like say those double 16th fret pinky rolls from that tab, and just practice the hell out of it.

if you can feel comfortable, lets say at 100 doing a certain exercise, find an exercise that is extremely difficult for you at 100. Instead of just slowing it down then working it under, try to find out WHY its so hard for you, and work on that.[/QUOTE]


That's some of the best advice I've heard in a while for guitarists.

ok, thank you...
to be serious i don't have problems playing in time with a metronome, but i have problem to adjust it at the speed it feels 100% comfortable. so it will be a good thing to take a time-off from the metronome, for the things i have to practise until i can play it comfortable as you said :thumb:

hey thanks man. This is seriously the ONLY reason i visit MX nowadays. I find the more i try to convey what ive learned for myself, in words, the more it makes sense. I feel i learn as well when i pass on knowledge, if that makes sense

i know for different techniques, the metronome would be all over the place, and i just dont like having the hassle, or feeling CONFINED to those damn numbers on that little thing :lol:

[QUOTE=Che Guevara]hey thanks man. This is seriously the ONLY reason i visit MX nowadays. I find the more i try to convey what ive learned for myself, in words, the more it makes sense. I feel i learn as well when i pass on knowledge, if that makes sense[/QUOTE]


I get that. You really have to know "fill in the blank" if you're going to explain it in words to someone

i have a belief that any of the current GOOD guitarists just suck at putting what they do in words. Im trying to help bridge that gap, for me, and for others.

maybe you should write a book and sell it ?!

[QUOTE=repcak]maybe you should write a book and sell it ?![/QUOTE]


honestly, thats what i aim to do someday :D


the problem is, you really need some sort of paper for people to take you seriously. I would want to do a video, explaining common problems, and EXACTLY what needs to be done to overcome them. My problem is, since i started guitar SO late, im constantly trying to play catch up. Catch up to who? No one in particular id say. I have a constant belief that I suck, and i really see no reason to compare myself, or ability, to others. Guitar, for me, is really an internal struggle of where i want to be, where i am now, and figuring out how to bridge that gap.

Most instructional videos ive found, rarely offer any insight on how to do this. If anything, they might provide a few exercises that help you get out of your comfort range, but that really isnt that ground breaking IMO

Dylan, BMM tonight?

yeah, thats true... most videos i've seen on the internet couldn't explain me how to sweep pick or to pinch harmonics...

... do you know a good guitar-book i could buy? once a friend recommended me: guitar heroes - by milan polak. do you know this book?

never heard of it tbh. I only use guitar books as reference for exercises that i wouldnt be able to consider on my own. I think rusty cooley and troy stentina eclipse just about anyone in the industry, it terms of quality

could you explain that book briefly? The one you were mentioning



i actually have about 500-1000 worth of reference material that ive archived if you are interested in any

i never bought this book, and never looked inside, but as far as i know the techniques of malmsteen, vai, satch, etc. are explained... technique book.
[URL="http://www.milanpolak.com/books.htm"]link[/URL]

500-1000 :eek: sure i'm interested :D

i leave work in 11 minutes...


shoot me an email, and ill start hookin you up :thumb:


[email]mckeepa@fhsc.com[/email]

thank you :thumb:

[email]repcak@gmx.at[/email]

not a problem. I sent you mail so it saves your address

thanks, i got your mail

FYI: I just got the CoBHC hoodie from infinity1.com

only thing i have to say is; Europeans must be little people. My american.....muscle...nearly burst through it ;)

^
THat or you got a size that is too small for you :rolleyes:

[QUOTE=chorbalan]^
THat or you got a size that is too small for you :rolleyes:[/QUOTE]

Honestly, i wear an extra large, But this....wasnt one...It had to be a misprint

My opeth fits perfect and came from same company\




ANYWAY, It kicks ***. Big reaper on the back in red \m/

when you buy tshirts from bands: they don't take it exactly with the sizes. i bought a medium NIN shirt and it fits perfect, i bought a medium Sunn O))) shirt and its a little bit too small...
it really depends on the company

[QUOTE=Necronomicon]Dylan, BMM tonight?[/QUOTE]


Not sure. I don't think so. My forum has special events. :cool: :smoke:

[QUOTE=Battle Against Time]Not sure. I don't think so. My forum has special events. :cool: :smoke:[/QUOTE]

It does...?

What'd I miss?

[QUOTE=Hevy Tred]FYI: I just got the CoBHC hoodie from infinity1.com

only thing i have to say is; Europeans must be little people. My american.....muscle...nearly burst through it ;)[/QUOTE]

Same thing happened me with a Nightwish sweatshirt. Extra-Large my ***...