How to play the guitar with the metronome. Why do guitarists and other musicians need a metronome? How to develop the speed of playing the guitar. Helpful hints. Exercises Technique for developing the speed of playing the electric guitar
Note : Common Tablature Exercises
Guitar Speed Exercise (Part 1, 2)
Tom Hess
Source: tomhess.net
Part 1. How to do to develop maximum speed
The boundaries of this topic are too broad to be able to cover everything in one article. After receiving hundreds of requests for advice on developing speed, it seems like it is high time to write an article on this topic. Teaching advanced players to reach the level of a virtuoso is a very rewarding and enjoyable process for me (I am sure, as for most teachers who teach highly advanced students).
Typical student question: What particular strategy should I use to improve speed development?
While my answer may vary from person to person, depending on what I know about that person's current abilities and goals (among other things), I tend to recommend different variations of the following strategy:
Stage 1: When you start learning new technique, determine (of course, use a metronome) your maximum speed at which you can play cleanly. Write this speed down on paper.
Stage 2: Practice at 20% -35% of your maximum speed. Do this for 5 consecutive sessions of your practice. Resist the temptation to play faster at this stage. Make sure you play everything very cleanly. There should be NO excessive tension anywhere in your hands, arms, wrists, shoulders, neck, head or anywhere else.
Be careful not to make unnecessary or unnecessary movements with both hands. For some guitarists, this first step is boring. You MUST remain patient with yourself and your practice all the time. It is very important! If you skip this step, you will most likely teach your hands to play incorrectly, ineffectively, and to no avail. At this stage, you develop the proper muscle memory for this technique.
If you are currently studying with an excellent guitar teacher, your progress will be much faster, easier, and better than if you are trying to do it all yourself. Once you get the hang of Stage 2, you can move on to Stage 3, but not before! I said above that you should practice this stage for 5 consecutive sessions of your practice. This is just a general guideline, after the fifth session, evaluate your progress. If you have not made it through this step, keep doing 20% -35% before moving on to Stage 3.
Stage 3: Practice at 50% of your maximum speed. Do this for 3 consecutive sessions of your practice. Again, make sure you continue to play very cleanly. Play in a relaxed manner without any tension in your hands, arms, wrists, shoulders, neck, etc. Make sure you don't make unnecessary or unnecessary movements with both hands. Do not go further until you have mastered this step (this may take more than 3 sessions, but DO NOT move further into Stage 4 before the Stage 3 sessions).
Stage 4: Practice 60-65% of your maximum speed. Do this for 3 consecutive sessions of your practice. And again, with complete relaxation and economy of movement (no unnecessary movements).
Stage 5: Practice at 80% of your maximum speed. Do this for 5 consecutive sessions of your practice.
Stage 6: Practice at 85% of your maximum speed for the next (1) session of your practice only.
Stage 7: Practice at 90% of your maximum speed for the next 10 practice sessions.
Stage 8: DRILL IT! TOTALLY RIPPIN (translation - 100% game) during the whole week!
Stage 9: After this week, determine what your new maximum speed is (it will be higher than the one you recorded in Stage 1).
Stage 10: At this stage, you will alternate every 3 sessions of activities like: Session 1 = 60%. Session 2 = 85%. Session 3 = 95%. At the end of each session, SLAM IT (100%) for a few minutes.
Once a week, measure your new maximum speed and adjust the speed of your metronome accordingly.
Warning: NEVER play / practice the guitar in pain. You could be seriously injured. This is not a joke, I personally know people who had to do wrist and hand surgery!
Part 2. Strategy for building speed
Please make sure you read Part 1 before following the advice offered here in Part 2... Here I propose a completely different approach to increasing the speed of the game, compared to the one described in Part 1, but this new system will not work well for you until you master the skills of playing clean and tidily at a slow pace (this is very important).
Unfortunately, the first system described in Part 1, takes several weeks to complete, and the one below can be completed in one practice session. However, this new approach is not a replacement for the method from Part 1 rather, it is an addition to the practice process, intended for more experienced guitarists.
My system "Pyramid"
For example, you can play a certain technique with a 100 beats (beats per minute-bpm) metronome tempo cleanly and evenly. Let's also assume that your goal is to play this technique at 200 beats per minute.
Do warm-up exercises during:
15 minutes in winter
10 minutes in spring or autumn
5 minutes in summerPlay at 60 bpm for 2-3 minutes
Play at 75 bpm for 2-3 minutes
Play at 90 bpm for 2-3 minutes
Play at 105 bpm for 2-3 minutes
Play at 120 bpm for 2-3 minutes
Play at 135 bpm for 2-3 minutes
Play at 150 bpm for 2-3 minutes
Play at 165 bpm for 2-3 minutes
Play at 195 bpm for 2-3 minutes
Play at 180 bpm for 2-3 minutes
Play at 210 bpm for 2-3 minutes
As you may have noticed, starting this program will be easy if you are already playing it with no problems at 100 bpm. But it will be absolutely impossible to play well in the later stages of the program. Play it anyway! Yes, I know it will sound just awful, there will be a sea of dirt, noise and other musical chaos. Do not worry about it while doing this program because you will not be doing this on a daily basis.
The Pyramid is based on two main things:
1. (most importantly!) It trains your brain to be as fast as possible (even if it’s played sloppy right now) for you. What you do is important as psychological training... Achieving high speed (as with many other aspects of music) is made more difficult by psychological rather than physical limitations.
2. This allows your hands to move faster than during normal daily activities (even if the movements are blurry, and this is not something you can insert when recording your next solo),
Most of the difficulty in developing speed arises as a result of synchronization problems between the right and left hands - lack of speed usually does not come from the fact that you cannot move your hands fast enough, but because of the problem of hand synchronization. Therefore, your activities are usually limited to the practice of synchronization (that is, you play mainly at those speeds at which you can play with clear synchronization, and not trying to reach maximum speed as such (even if you do not notice it).
Improving your timing skills will improve your overall technique, but you really won't train your hands to move much faster than you can now ...
This system will fix everything. I apologize for repeating the same point, but this is really important. This system is a supplement, not a replacement for normal activities.
Warning: Since this exercise system is extremely stressful for your fingers, hands, wrists and hands, you should avoid any pain while exercising. If you feel pain while exercising, you should immediately stop playing and rest before practicing it again.
Never play with pain or extreme stress on your muscles or ligaments. Follow this rule to avoid long-term health problems. Also, be sure to warm up thoroughly before starting your intensive classes (especially if you are doing my Pyramid program!).
If you are serious about music and plan to play complex compositions in the future, you need to take the time to practice. Craftsmanship always requires a lot of time and effort. Therefore, you need to approach the classes with all responsibility. In this article, we will look at various exercises for developing speed and purity of playing the guitar, training a sense of rhythm. Let's start by warming up the hands.
Warming up hands before playing
Make it a rule to stretch your hands before playing. Warm up should be an integral part of your training and public performances. And the more time you spend on it, the better.
First, by straining unheated muscles, you risk injuring them. Tendinitis (inflammation of the tendons) and arthritis (inflammation of the joint) are occupational diseases of guitarists. A banal warm-up greatly reduces the risk of injury.
Secondly, arm gymnastics greatly increases the effectiveness of training. Try to warm up before the game - and you will feel how much faster and more accurately your fingers began to run along the bar. Personal observation: without warm-up, the maximum speed of execution of passages drops by 25-30%.
Gymnastics consists of 2 parts: with and without a guitar. First, you need to put the instrument aside and prepare your hands. Start with the forearms and hands - do a few dozen circular rotations in both directions, as in physical education.
Then comes the stretching of the fingers. Try to spread the fingers of your left hand to the sides as far as possible. Stretch first without the aid of your right hand, then with it. Watch your feelings - you shouldn't bring it to pain. It is also a good idea to bend your fingers one at a time while holding all the others. If you have an expander, you can work out a little with it.
Taking only a few minutes a day to do this will protect your hands from injury and also increase the effectiveness of your workouts. Pay special attention to your left hand - it is she who is most loaded. But you should not forget about the right one either - quick game tires her too.
Warm up with a guitar - develop a sense of rhythm
When you do a simple exercise, you can safely take up the guitar. Going to play at the limit is fraught with trouble. You need to start slowly, gradually increasing the pace. Practice for at least 10-15 minutes and your hands will thank you.
Now is the time to pay attention to the rhythm. Rhythm is the basis of any music (except, perhaps, ambient). In whatever direction, and whatever instrument you play, you must not forget about the rhythm.
It's worth starting with a slow game. Perhaps you think that playing slowly is very easy and boring? Try to accurately hit the metronome beats with 4 notes at a tempo of 40-50 beats per minute. Most aspiring guitarists won't be able to do this. You need to train at all speeds and certainly with a metronome. Metronome - best friend and a musician teacher.
Set the metronome speed to 60 bpm (beats per minute). Play the passage shown in the picture. After a few minutes, increase the speed to 70 bpm, then to 80, 90, and so on.
Walk it in a circle several times. Play with 4 notes first, then 8, then 16. You can combine them to get the simplest rhythmic patterns, for example, gallop (8-8-4 or 16-16-8), or use triplets.
Then go over the scales. Build a scale from any note on the 6th string - and play it in the same way. It is important not to sit in one place on the fretboard. Pay equal attention to the first frets and the very last ones. Your fingers should always run confidently.
If you are playing with a pick, try different methods of attack. Play the passage with alternating strokes first, then downstrokes. For owners of electric guitars, it is recommended to practice on both clean sound and overdrive. Their playing technique is slightly different, and you also need to work on it daily.
If you are in a hurry - work out for at least 10 minutes. It's much better than nothing.
Exercises for speed play
Learning to play fast is only half the battle. Many musicians can produce 20 notes per second, but it is very difficult to make out at least some melody in this. The point here is correct setting sound and clarity of the game. Sound is a very ambitious topic and deserves a whole series of separate articles. But over pure play need to work.
First, determine the maximum speed you are comfortable with. Pick your favorite riff or simple scale, turn on the metronome and play it. Then increase the speed and repeat. Increase until “dirt” starts to appear in the melody. Minor rhythmic inaccuracies, the scraping of a pick on the braiding of the strings, the touching of extra strings - all this greatly spoils the melody. Especially if you use overdrive or distortion in your music.
When you understand the limit of your capabilities, you can start expanding it. Again: forget about playing without a metronome! Start with the exercise above. Choose any fret, build a similar passage from it and play. Keep it clean. If you play dirty, slow down a bit or take a break.
Don't get hung up on one exercise. Tired of playing this passage - switch to other modes, to scales. Playing your favorite pieces is no worse. Choose an interesting fast composition or an excerpt from it, practice it - and into battle! The most important thing is to play as clearly as possible. Never go out of rhythm. Never hit an extra string.
When it works, increase the speed a little. Just 2-3 beats per minute. You will hardly feel the difference, and you can play with warm hands without any problems. Even if you move the threshold by 1 bpm per day, you will get a stunning result in a month.
Don't forget about the different techniques of the game. If you are interested in sweep, be sure to train it. Love tapping - add new notes to your exercises. Try, for example, to play a passage from the picture with both hands.
The letter T in the tablature shows which sounds are played with the finger of the right hand. When playing tapping, pay attention to the volume of the note. Beginning guitarists have a very lame extraction of sound with the little finger and ring fingers - watch this. Mute any extra strings to keep your playing as clear as possible. Your task is to bring your performance at the current speed to the ideal. And only then can you go to the next level.
Summarize
Let's reiterate how your workout should go:
- Warm-up and stretching;
- Slow playing of scales with a metronome;
- Determination of the comfortable speed for today;
- Exercise game for speed game also under the metronome.
You may find this approach boring. Play the same boring riff dozens of times, and watch out for hundreds of little things. But remember the proverb: "Repetition is the mother of learning." Fast play is a very difficult technique. Not every guitarist can boast of a clean performance of high-speed passages. It takes years of hard training to reach the pinnacle of excellence. Spend only 40 minutes a day on these exercises - and the result will not be long in coming.
& nbsp & nbsp & nbsp Date of publication: October 25, 2011
The shape and thickness of the pick plays an important role when playing with a variable stroke. Many novice guitarists cannot use a thick pick, while more experienced guitarists cannot use a thin one. It's all about the speed difference. When your speed is low enough (70-80 UVM), and your technique leaves much to be desired (large range of motion, there is no synchronization between the left hand and the right), then you need a flexible, plastic pick, whose springy properties will smooth out the shortcomings of technique. And at first, playing with such a pick is much easier than playing with a fat one. On the other hand, if you play at a speed of 130-150 UVM, a thin pick simply will not have time to bend in time and the game will go to hell. I would advise starting with a thickness of 0.5-0.8 millimeters and gradually working up to 2-3.
As for the angle at which to hold the pick, there is again no consensus. Troy Stetina - one of the most famous teachers in the field of playing the electric guitar advises to hold the pick at a right angle. Andy James, another equally respected teacher who is often seen in video schools from LickLibrary, says that you need to hold the pick at an angle of 30-45 degrees in relation to the strings. Ultimately, it all depends on how comfortable it is for YOU to play. Of course, you cannot take a pick by the very edge and count on success. You need to firmly squeeze it between your fingers, leaving the very tip free. There are many examples of how guitarists have achieved amazing results by pinching the pick between their thumb and middle finger. This is all quite individual and depends mainly on personal preference. Here is another confirmation of this - there are two completely opposite methods of setting the right hand. A guitarist like Michael Angelo plays with one or two fingers resting on the body of the guitar just below the first string. And, for example, Buckethead holds the brush in weight. Both have amazing techniques and therefore I cannot recommend either method - you choose.
As for the left hand, make sure that your thumb does not protrude too much from the bar. And let the rest of your fingers hover one or a maximum of two centimeters above the bar and be ready to clamp the right fret at the right time. This is especially true for the little finger - it is he who most often and further away from the neck than all other fingers.
Before starting the exercises, it does not hurt to warm up. Remember that bright future, when your speed reaches 120 and higher - never play without warming up. It's like in sports - not warming up the ligaments and joints, you can damage them. Quite an unpleasant sensation, I confess ... After that, for a week or two, you can completely forget about playing the guitar, as it causes unbearable pain. What can you advise? First, rub the fingers of both hands well. Start from the base and gradually massage your finger towards the nail. Secondly, close your fingers in the lock and bend in the opposite direction several times. Finally, just shake your hands, clench into a fist and unclench with force - now you are definitely not in danger of stretching your joints. All this can be done without the name of the guitar at hand, for example, on the way to the rehearsal, especially in winter, when hands, freezing in the cold, are not capable of productive work.
Here are a couple of other good warm-up exercises. Remember the previous lesson? There we talked about external and internal strokes. The first exercise is designed to improve them. Moving from the top (in height) strings to the bottom, you work out the outer stroke. Moving in the opposite direction - internal. It is very important to always pay attention to your weaknesses... If you notice that, say, the external touch is given to you simply, but with internal problems (most often this is the case), then pay more attention to the second part of the exercise. Repeat this exercise until you reach the top frets. Then you can play its mirrored copy down.
The second exercise is designed to practice such an important skill as jumping over strings. An experienced guitarist has a feel for the neck and always knows where his pick is. This is one of the many things that sets him apart from a beginner. Try to perfect this exercise. At first, even without the metronome - here it is not so important. Just feel the distance that you need to cover from one string to another.
Well, it's time to move on to speed exercises. And the first of them will be a looping pattern in C major, an excellent feature of which is its looping :) That is, you can play it in a circle indefinitely. Start with 70-80 beats per minute and work your way up to 100. In the last lesson, I talked about a training method in which you reach your maximum, when you can no longer play without dirt, then slow down and slowly increase it again. There is another way, which also brings good results. You can, just a little short of the maximum speed, go in the opposite direction. Returning to where you started - repeat the whole process. Why can't you reach the maximum? Because in this case your strength will run out and every time, despite the fact that you reduce the speed, dirt will be present in the game.
The next exercise is again a looped chromatic pattern. These patterns are great for developing right hand endurance. For the left hand (I know from experience) endurance is not too important - here it is important to develop plasticity, independence of the fingers. For the right, the opposite is true. Making the same, monotonous movements, the right hand gets tired very quickly. It is in order to avoid this that endurance is needed. Just play for a long time at a slow speed. And, despite the fact that at first glance it seems that this activity is meaningless, it is not. Ultimately, your right arm still gets tired, and at the same time, its stamina increases. Such an exercise will be much more useful than a thoughtless minute "rubilov" at maximum speeds.
The next exercise will be your first finger independence exercise. As you can see, it, like the previous two, is located on the top two strings. Don't be limited to this! Play everything in all five variations (first strings second, second-third, third-fourth, fourth-fifth, fifth-sixth).
Below is a similar exercise, only it does not involve the ring finger, but the middle one. Don't forget what we talked about in the first lesson. It is necessary to alternate between playing on a clean sound and on distortion, it is necessary to play economically, it is necessary to play with a metronome, etc.
So. In this lesson, you have made significant progress. I advise you to reach the speed of 100-105 UVM (7 notes per second) before moving on to the next lesson. There we will proceed to more complex passages that will cover all the strings, and sometimes the entire neck. Good luck!
There are many ways to develop speed. All of these paths or techniques, if you will, are very important. Using them evenly, focusing on each one in turn, and gradually merging them, you will make significant progress in the speed and quality of the game.
First, let's define the main methods of increasing the speed:
"Akuna-matata"
"Hummingbird"
Optimization method
Synchronizing hands
"Akuna-matata"(or inner freedom). Freedom of action is the first thing that catches your eye when you see a professional musician on stage. He manages to simultaneously play the guitar, dance, shout something into the microphone and still wink at the girl in the crowd. All of this says two things: he is very comfortable and comfortable doing what he is doing, and he is very relaxed emotionally and physically.
Many aspiring guitarists are pinched and constrained. From the outside, the activities of such a musician look like hard work: his brow is damp, veins are swollen on his temples, he is sniffling and puffing with zeal. A person always gets used to playing in this style. It seems to him “Now I’ll hold my hand and I’ll play fast, fast,” but nothing happens. The movements are ragged, of poor quality. We are not talking about speed at all.
Conclusion: Learn to relax! Start your activity next time by closing your eyes, breathing and relaxing your whole body. Then take your guitar and try to play as FREELY as possible. You should be as calm as a lotus flower at the foot of the Temple of Truth at the top of Fujiyama. Play slowly and gradually increase the pace. As soon as you feel that at least one muscle starts to tighten as the pace increases, gradually reduce the pace, breathe and relax. This "Zen" should become a habit for you - with relaxed and free hands you will play much faster than with clamped CLAWS.
"Hummingbird"... Let's compare two birds: the condor and the hummingbird. In addition to the obvious difference in size, they have another important difference - the speed of the wing flaps. Due to the small length of the wings, the hummingbird is capable of developing a monstrous flapping frequency, much higher than that of large birds. Conduct an experiment: try waving up and down, first with your outstretched hand, then with your forearm and one finger. Was one finger faster? It's all about the length of the lever and the amplitude of the vibration. The more economical your movements are, the faster you will be able to play.
Analyze your playing technique. If you are having speed problems, you are probably raising the fingers of your left hand too high. Start controlling them. They should not extend more than a few centimeters from the bar (unless deliberately over-articulating). After all, the longer they go, the more time they will spend, and this will slow you down. The same goes for the right hand. When playing with alternating strokes, try to minimize movement. Play not with your whole hand, not with your hand, but with your fingers or even your fingertips. This will greatly increase the speed.
Conclusion: try, wherever possible, to reduce the range of motion, and you will add in speed like a meteor.
Optimization method... This method consists in re-evaluating your play and controlling each movement, making it the most optimal from a technical point of view. At the beginning of your (and my) musical career, everyone plays "bang-bang" or "it'll do." Often we do not pay attention to the strokes with the pick (up or down), which we use, with which fingers we press the chords, at what angle we hold our fingers, and so on. We get used to this slovenliness and when the hour comes to play quickly, we simply cannot do it, as we do a million unnecessary and unnecessary micromotions that we are used to. Each musician has such "leftists" and they are individual, so we will not dwell on something specific. Try to examine your playing under a microscope. Everything, including the movements of your fingers, obeys the laws of logic and biomechanics. Try to understand why you can't play this or that piece faster. Perhaps you make unnecessary movements with your fingers or you take your hand too far when playing with a fight. Maybe you chose not the best fingering (finger order) when playing, or chose a suboptimal technique.
Conclusion: be self-critical and work on improving your technique all the time. And most importantly, having realized the mistake, do not be lazy to correct it and retrain. The later you do this, the slower speed will come to you;)
Synchronizing hands... And, perhaps, the most important thing that affects the speed of the game is the coherence of movements of the right and left hands. We can see this in the example of famous self-taught musicians like Jimi Hendrix and Dimebeg Derrell. Any music college graduate in the guitar class, wearing glasses, would say "Their technique is terribly wrong." But how fast they played!
You should focus on synchronization, which is to practice playing smoothly and simultaneously with your pick and fingers on the fretboard. Even if you never develop the ability to move your hands super fast, you can still get the most out of your guitar if your hands interact in concert.
How to develop synchronization? The answer is simple! Yes, yes, my friend - scales! These exercises are many thousands of years old, and they still do not lose their relevance. Play slowly, with a metronome, various scales (chromatic, major, minor, scale-based sequences, etc.). Shradik's exercises helped me a lot. The main thing is to start with a slow tempo, with a metronome, and keep an eye on quality and synchronicity. Play exactly like a clock! As soon as you feel that your fingers are "entwined", slow down.
Conclusion: You will get the best results in speed if you concentrate on the coordination of the right and left hands in the classroom.
As you can see, there are many methods of increasing the speed of guitar playing, use all of them, and you will definitely improve your result. I believe in you!
© Dmitry Lebedev
Are you tired of not being able to play guitar as fast as you want? Do you feel that lack of guitar speed limits your ability to musically express yourself? Although speed guitar is not the main goal for every guitarist, those who want to get faster usually want it very badly and are often frustrated by their inability to develop this area of guitar technique quickly. If this sounds like you, I will share with you a few important secrets of increasing the speed of the game that will greatly help you develop this skill.
Good news and bad news:
The good news is that in reality, the ability to play guitar quickly can be developed by anyone who desires it. Moreover, you can directly control the process of guitar practice in order to make it more efficient and achieve your goals in less time than the average guitarist.
The bad news is that most guitarists (those who can't play guitar fast yet) are on a completely wrong path in mastering this skill. I see this every time I start practicing with new students who have come to me to improve their guitar technique. A common way of developing a student's guitar playing speed is usually limited by the strategy of "start with the metronome at low speeds and gradually increase the speed in small steps." This technique can be effective in getting started with new exercises, but if you rely solely on it to develop your guitar playing, you will face many frustrations and plateaus.
There are several reasons why this is the case:
- This approach focuses most of your attention on trying to “move your hands / fingers faster”. However, like the tip of the iceberg, the ability to move your fingers faster is just a small, insignificant part of what needs to be improved in order to increase your guitar playing speed. With this method, the most important elements of speed play are ignored and not taught in the classroom. As a result, playing guitar often turns into a series of eager attempts to break through the current speed hurdle.
- There are dozens of different elements that must be learned if you want to learn how to play the guitar quickly, including: hand sync, articulation, tension control, the speed of your mind, hand endurance at high speeds, the speed of playing the guitar with one technique versus the speed of playing the guitar with the combination of several techniques and much more. Each of these “Guitar Speed Components” needs unique learning strategies so that you can develop your guitar ability in the most effective way. Relying only on “one” strategy for developing guitar speed (such as the common strategy described above) will not improve all the elements that are required to increase speed.
To help you expand and improve your guitar practice relative to traditional guitar playing, here are some important principles:
Pinpoint the problems that are preventing you from speeding up your guitar playing.
Just saying “I can't play fast” is NOT ENOUGH. The inability to play guitar quickly is just a symptom of a more complex problem, which usually has several causes. As described above, the root of the speed limiting problem can lie in any or all of the technical elements that together make up a complex skill that we call "quick guitar playing." Determining exactly what is causing your problem is the first step towards solving it. Once you understand what exactly is holding you back, you can focus your guitar practice on the very challenges that need to be overcome. The help of a guitar teacher in assessing your current problems is fastest way achieve the required level of analysis accuracy.
Use a variety of strategies to develop the speed of your guitar.
As your playing skills develop, so will the challenges you face. Therefore, in order to be effective, the training techniques you use must also evolve. There is no “one-size-fits-all” strategy for increasing your guitar playing speed. Of course, there are approaches to classes that are much more effective than others, but the way you organize your classes to increase speed should be unique depending on your specific technology and specific problems facing you in this moment time. You can see some examples effective methods speed boosts that I use with my students in a free mini-course.
Work on matching your guitar techniques to avoid robotic sounds .
After years of teaching hundreds of students to improve their guitar technique (and other musical skills), I have found that most guitarists spend very little time applying and combining their musical skills in general and their guitar playing skills in particular. This leads to a lack of freedom to fully express oneself in any musical context.
In terms of guitar playing speed, this translates into the fact that most guitarists tend to focus on increasing the speed of playing only one technique at a time. For example, you might practice the sweep technique for 15 minutes, then 15 minutes on legato, then 15 minutes on two-handed tapping. While this approach will help you increase the speed of each technique individually, you also need to work on using all of these techniques “together” in the same way you would use these techniques in real guitar solos. Ignoring this aspect will make your game unnatural and even “robotic”, since you cannot play confidently while using all the variety of techniques you know.
While “guitar speed” is definitely just one area that must be explored in order for a guitarist to become a truly expressive and creative musician, it is a highly coveted skill that most guitarists do not possess. Applying the concepts described above throughout your class, as well as completing the free mini-course, will greatly help you achieve the speed that suits your goals.