Quote: JoelMedina wrote in post #68
Uderoche: (I'm not sure if it has been addressed yet) On the picking hand, are you always doing a constant U-D-D pattern throughout? Or do you stop doing the upstroke after the first one?
EDIT: I know when it comes to sweeping there's a certain point where paying attention to pickstrokes becomes trivial. I'm trying to figure out the right hand mechanics of what you're doing when you play them quickly.
Yes. For this particular permutation (of which there are many...I just chose this particular one at random) the pattern is Upstroke-pulloff-Down-Down
I definitely don't think it's trivial to focus on the pick strokes! It's very important. That's why I feel this is a good pattern to start with. Because, generally speaking, the biggest problem people have with the sweep picking is turning the pick around and going in the opposite direction. The down-down-UP-pulloff and then back to down-down...this is a problem area...the upstroke and then back into the down-down "sweep" part.
Yngwie, Blackmore, Uli Roth, and most of the neo-classical shred guys make heavy use of this type of thing. How you move the pick can be changed...I don't know if there is a "best" way, but the strokes remain the same.
It can be played so fast that it almost starts to sound like triplets and it's difficult to tell exactly what the pick is doing.
In my example it is constantly Up-pulloff-Down-down-up-pulloff-down-down
You don't have to use scalpel picking to do it. In fact, most people don't I would say. Pebber showed me the technique and it seemed to fit well with sweeping because you don't have to move your arm and wrist as much...although with some of the larger 5 and 6 string shapes you often have to move your hand more.
Yngwie uses this type of picking for sweeping as well as the late, great jazz legend Howard Roberts, where I believe Pebber learned the technique along with Eric Johnson...the so called "circle picking" or scalpel picking.
I would experiment with various ways of moving the pick however, the strokes are the same and the muting is crucial. At high speeds it will sound like a blur of notes but you don't want it to sound like a strummed chord.
Also, that upstroke is your "marker" note...Frakh has talked about marker notes before. Focus on that upstroke and accent it...give it a little extra pick. This will help you to stay on track.
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