Hard to hear things at those tempos… so I leave space. Pat Metheny, for example, I don’t know how he hears at such tempos. John McLaughlin, yes, I hear, but Meth?
Realising very early 30 years ago I couldn't pick fast, I evolved my playing into a mix of picking combined with hammer on and pull off's. To this day my limit is eighth notes at 220bpm. Picking every note feels foreign to me. I would love to be able to do this and play at 300 bpm but it would require going back to the start and I'm afraid to change. I think the ability to play fast opens up a freedom that I may never know. I noticed that you were an every note picker before you discoverd this techniqe, and I think that's why it only took you an hour to incorporate it. Thanks for this video. It was very informative.
I feel you! For the first 15 years I couldn’t play much beyond 240bpm as eighth notes either. I wasn’t picking everything and would compensate frequently with lots of hammer ons, pull offs, and slides. You can definitely incorporate this and get to 300bpm. I didn’t think I’d be able to for the longest time but this technique just clicked for me. Let me know how it goes 🤘
@@kilroywahzhere2476 These kinds of comments aren’t appreciated on this channel. If you have something of value to add, please do. Also, “realising” is the preferred spelling for English-speaking world outside of the US.
Awesome stuff, I came to this exact conclusion about Dw pickslanting + legato a few months ago and it really has made a huge impact. I’ve been trying to incorporate hybrid picking with this to reach larger interval jumps in lines, it’s a fun addition
Downwards pick slant , upstroke escape… upward pick slant downstroke escape … 2way pick slanting … cross picking double escape … Troy Grady has given us a framework for building licks in all genres …
He really did an amazing thing by categorizing everything like that. My goal for this channel is to have that same level of detail and explanation for all the concepts relating to jazz guitar playing and more.
Do you ever play rock or rock-blues? I watched Matteo Mancuso play jazz, but my gawd, he can rock it too. I really like your videos, am subscribed and have watched most of them. Really good stuff.
I love this video, it is the very best, thank you Chase. One third of th way through the 60 lines book and this is a very useful virdeo to get the best from the book. I can't recomend this highly enough it make so much sense and no BS !!!!
@@ChaseMaddox Chase, I think this could be another lesson as it delivers so much pratice value for improvement.. However , when I apply this to the 60 lines book it doesn't always seem to always follow the principles you have detailed . I am now at week 5 and generally find 1 in each key difficult to play and finger, I will see this through and then start again, I beleieve it is a very good investment of my pratice.
Excellent video!!! Love this technique, though how would I play a longer descending arpeggio with one note per string on several strings? For example, Eb major7 in 3rd position, descending. Thanks!
Thank you! 🤘The first thing is I wouldn’t generally be playing a long descending arpeggio with one note per string across more than 4 strings. If you do want to then the approach becomes consecutive down sweeps for descending or consecutive up sweeps for ascending. If the tempo isn’t too fast you could alternate pick instead.
well I opted to go the two way pick slanting route, more challenging but I’m getting it down and less limiting for building lines to my way of thinking. esp w/ one note per string passages Got turned on to Andy Wood who employs this. Monster picker and beautiful player. I’m in his Patreon group and we do a Zoom call every Wed. You can see his two way pick slanting up close and personal. Absolutely fantastic.
My wrist moves in the same way it would if I was moving a tea bag up and down in hot water, basically in line with my forearm. The forearm can move, depends on how fast the tempo actually is and what specific technique I’m playing at that tempo.
Nice summary of USX from Troy Grady! It’s a great technique if you have a resting downward pickslant. It’s also the way Yngwie Malmsteen plays most of his lines. This was me for a long time but lately I’ve made a lot of progress by keeping my wrist in a more neutral position (but still relaxed) which is opening up a lot more alternate picking lines for me. So many ways to play fast, it’s good to just go with whatever is most comfortable.
Every nice! I used to pick this way for loooong time but have changed to a more neutral pick position now (no slant) with a minimal double escape motion. Once you get that you never have to think of even notes to get out of the strings for hitting the next one; you now are always escaping, both on a down and upstroke. Watch a guy like Anton Oparin who can alternate pick anything at blistering speeds with this approach. But, sometimes I will change to the downward slant position because it still feels natural to me and gives you a certain sound.
As a massive Benson fan, I'm more than satisfied to mimic his approach to technique and lines as best as I can. It's cool that there are still so many other techniques that allow people to play crazy fast though.
Another great lesson. Economy of motion is the key playing quickly. This kind of attention is what pointed Frank Gamble to " sweep picking " It can help staving off injury as well.
Thanks for watching! 🤘I use Fender Heavy picks. I used to use Jazz3 picks but started to prefer ones that were easier to use for many genres of playing.
TH-cam throwing shade. I was playing a slow blues at about 70 BPM earlier for about an hour just jamming and it shows me this.... Im grateful though because at one point I was thinking, “my girlfriend wouldn’t want to always hear this. I should learn some quicker stuff.”
Your assumption is wrong. In the context of jazz at that tempo, triplets and sixteenth notes would be unusually fast, although can happen as a quick flurry. Most of the time those rhythms would be used at a slower tempo.
@@ChaseMaddox I apologize for keep bothering you, but is the guitar made in Japan? Also if you could have only one jazz guitar in Ibanez line up, what would you pick? 🙏
@@JP-gt8qr no bother at all! I don’t know where Ibanez produces these guitars from, you’d have to ask them lol. Honestly probably this same guitar or maybe the GB model, but I like that I can gig with this and not worry if it get beats up because it’s relatively inexpensive.
I don't quite understand the DU technique in example No. 4. E. g. on the 1 "and" and the 2 of bar 2 there's the transition between a b and a g from the 3rd to the 4th string and I just don't get how I can play this in a DU-manner because After the pick-slant the pick is resting on the 2nd string and it seems really hard to get to the 4th string that fast. Can you help me?
Good question. The technique there for when you have single notes on different strings relies on alternate picking and wrist rotation. Once you pick the B note down, immediately rotate your wrist as if you’re turning a key in a door, so that the pick does not rest on the second string. Then you can easily access the G with an up pick. Hope that helps 🤘
In the example using the pull-off, have you considered ‘hybrid-picking’ = using ring or middle finger to play the odd note? I first saw this when I slowed down a video of Vinnie Vincent playing some really fast gibberish. When I started playing 100 years ago in the early 80’s, I used hammer-ons and pull-offs. Metal shredding literally became a ‘thing’ in my formative years of learning and I never became a shredder so to speak, I built my speed with a pick relying on hammer-ons n pull offs. I also spent many years playing with my fingers. It wasnt til the layoffs during the pandemic that I totally overhauled my right hand playing and started trying to get the shred thing down. However, I soon dumped the pick again because I thought it would be more fun to try getting my finger picking to be as fast as using a pick. I started practicing a descending 5 note pentatonic run alternating starting with left ring- down five notes then jump back up starting with left index. If you picture what Im saying it is a cyclical pattern and I just try to play it as clear and fast as possible. My observations are that you can play notes with your fingers as fast as with a pick but you cant play all the same type of lines. For example it would be hard to trill on one note with your fingers but you can arpeggiate chord notes with blistering speed. Also to note: I use thumb, index, middle, ring, and sometimes pinky of right hand to play the notes. Im also a lefty playing right handed.
Thanks for the thoughtful comment! I’ve tried hybrid picking for certain country licks. My impetus in learning this style is to be able to play like my jazz guitar hero, George Benson. Because it’s a similar picking technique to what he does it integrates well with the kind of lines he’s playing.
@@ChaseMaddox Yes and I should add that you did a great job simplifying the understanding of Troy Grady observations along with your refinements. Youve really focused the whole thing and made it easy to understand and implement. I love Benson. Wes is also the man and I guess he’s given me the encouragement to keep playing with my fingers.
No they don’t usually. Musicians that play gigs and call tempos would call this 300bpm. The exceptions are bluegrass players and speed pickers on the Internet.
Haven't finished the video yet, but what are the chances of doing this without a pick? Nice guitar. I have the sunburst AF-75, and it's probably my favorite ever (I'm almost 50)
@@ChaseMaddox I dropped too many early on (real pain to get them back out through an F-hole) and switched to bass in the 90s anyway. Getting back into it, and am used to pizz. Have you got any lessons about it, or know of some good ones? Ir give them privately?
Thanks for sharing but you do not wait for trigger points in the beat you play on top of it and my experience is that most music consumers do not value speed as much as guitarinterested people do.
The inside picking (high to lower string using Down Up) in one note per string section looks like a quick switch to an upward pickslant. The USX motion and orientation doesn't look very extreme although probably there somewhat
Nice eye for detail. I think that’s correct because if you kept the downward slant you’d be trapped in the next string again. The quick switch to upward pickslant avoids that. That’s my natural tendency with this but not sure if that’s exactly how Benson and others do it for one note per string things like triads.
Impressive , but as i get older i realize that im never gonna play that fast, in fact i cant even think that fast. i believe many people cant hear that fast either. I focus on melody and note choices primarily. And as you alluded to, beat division, technique and phrasing. Ill leave the fast stuff to you young people, lol. I respect your proficiency ,
Why is there a cut every 3 words? I am astounded at how distracting it is, and difficult to follow. I feel like it's an unnecessary trend that a lot of YT channels are doing. It's awful.
A bit of an exaggeration there, but the cuts significantly increase average view duration during the first 30 seconds which then drastically increases the reach of the video and TH-cam showing it to more people.
@@ChaseMaddox Well, quite the contrary. I was trying to say that your content is engaging enough that you don't need the artificial cuts. But if you are trying to appeal to those who can't sit through a basic intro, then I wouldn't know about that. Keep on keeping on I guess.
Glad you think so. My point is that having a high retention % for the first 30 seconds is important to get my video shown to more people, one way to do that is the cuts. It has nothing to do with appealing to people who can’t sit through an intro, but how TH-cam works.
Why exactly does one need to play at 300 bpm .. fastest music I know of is slayer at 260 bpm...sorry I'm not trying to revive speed metal. Its a dead genre
Thank you for this lesson ! I never really gave this any thought to be conscious of what direction to start or end picking. I can feel the improvement already on the first line.
i keep flipflopping between my standard alternate picking technique and the technique showcased here when playing the first line. when using the technique showed in the video i can play each note much smoother and with better articulation, and i've practiced it for maybe an hour. it's kinda scary how immediately it improves my playing 😅
Gypsy Jazz players use a picking technique that involves always using down strokes when starting a phrase on a new string. They also use the downtilt method which they refer to as a "rest stroke" because the pick rests on the string below. Double down strokes (three notes on a string and then a second consecutive downstroke when moving to the next string) is something you practice but it can be down quite fast. Using either that method or the one you're showing means careful planning of fingering to make the run as efficient as possible. Either way it's about what works for you.
In my constant case, the Pick clatters into the strings, or starts to slip from my fingers. No matter how much metronome, patience I use, I cannot get smoother, faster at alternate picking. Be it Jazz here, or even fun things I love to do like working out my fave classic video game tunes.😁
You might check your grip. I found after many years I was not quite holding the pick in the 'traditional' grip, and moving to that helps a lot. Kind of subtle. The key for me is realizing the 1st finger joint should be exactly parallel to the side of the thumb. I used to have my finger pointing more down toward the tip. It makes a big difference with pick control, as this naturally locks the thumb joint to the 1st finger - less movement now.
Also you could try different kinds of pick, like ones that have specific kind of grips, but try as many as you can get to find the one that suits better for you and has the tone you are looking for, don't feel discouraged, if you try hard enough you will get there and your effort will be rewarded😎
Wonderful! Now please make a video on your left-hand technique! Especially descending in pitch… and maybe a few exercises for us Noobs to learn this slowly! Many thanks!
Thanks Adam! 🤘What would you want to know about my left-hand technique for descending? Also, I do have a course called 28 Days to Fast Jazz Lines Challenge that breaks down playing fast into 1 bite-sized idea to practice each day 👍
I have been noodling for so many years and this is the first time I have taken a look at right hand technique. A very huge "aha" followed by a "duh" Either way thank you so much for taking the time to make this video!
Thanks for checking out the channel Jacob! I had a similar feeling when I realized this picking technique and I wanted to help other guitarists learn it so they didn’t have to struggle with not being able to play fast for 15+ years like me 😅
I play gypsy jazz! I love analyzing picking strategies and this video is great and I learned a lot of new stuff! I know this is not gypsy picking technique but I’m going to transfer a lot of the way your thinking into gypsy technique..such as the way you think about x notes per string. Thanks for the great content!
Glad you enjoyed it, Joe! Other guitarists have told me that it pairs well with gypsy jazz style, although I don't personally play much in that style 🤘
Lovin the guitar, man the Artcore series has such a "bang for the buck" going on, play mine all the time, great action/sound for the price, the Jazz box size is the only thing keeping it from being my main player-for that i go to the Gretch Electro semi hollow,thin but still has that hollow sound that is so so sweet. Anyway, great vid -Cheers
It totally does! This one is technically a 3/4 hollow body with a smaller size so it fits really nice compared to large arch tops. For me it’s the perfect balance between arch top and semi hollow. Thanks for the comment! 🤘
@@ChaseMaddox Ah nice, diden't know they have the smaller sizes/ bought mine like 7 years ago, was gona sell it, but like a few others in my collection-glad I dident! Ah k k just like the Gretsch /they come in smaller sizes also. Yep size is such a conundrum, the bigger it is usually the better sound, but then can get annoying after playing for long periods of time! ha Yep, great vid thanks for the lesson!
Pat Martino was a master of the jazz language. Charlie Parkers sax lines are fabulous to first transcribe then play on any instrument. I think it's more important to analyze just what so are "saying" in a line...Is it within the context of the harmony, does it rise and fall, etc? Technical facility is extremely important. Playing fast, for many people, causes them to lose track of what they are trying to say, musically. Transcribing great artists will help with learning the language and executing the ideas by applying the techniques which allowed them to play those lines. I am interested how you would apply this technique to a transcribed solo of let's say Martino, McLaughlin, or another guitarist who's technique is different to execute the lines they play...
Guitar playing is not about playing fast...it is all about good melody, musicality and playing with emotions musically. Just look at 95 % of legendary guitarist such as Jimi Hendrix, David Gilmour, George Harrison, SRV, Bryan May, Jimmy Page, Jeff Beck, Richie Blackmore, Carlos Santana, Neal Schon, and countless other great guitarist. They don't play fast, they play with feel and some good, quality melodic notes, and that's why they become greats and iconic....enough said. 🤔😃😎
I discovered Troy Grady a while back, especially the episode with Andy Wood. With a few simple exercises (with the help of Ben Eller), I spent the last 2 months trying to finally nail something that has eluded me my entire life. It worked 💪. Magic. Free at last. Great content by the way. Thanks 😊 I do upward pickslanting now too, and pretend I'm John McLaughlin. Fun for days.
I save him for downward pickslanting. 🙂 Loving your content by the way. Troy is great but it's all shred stuff mostly ( no disrespect) so it's great to see this in a jazz context. You deserve many more subs. Thank-you.
Great video, my problem is matching left hand finger placement with a faster tempo arrangements... Any drills that can assist me on that issue would be very helpful!!! Thanks in advance!
I don’t have specific drills for that but it is something Dan Wilson discusses in his upcoming course with us! Check out the waiting list for it below 🤘
Hi Chase. Thank you for all your informative videos. I always give a thumbs up and subscribe. QUESTION: how would you apply this picking technique video to your #14 (Benson’ smooth Bebop) short video? Would you start that lick with a “DU” or “UD” or “DD”?
Appreciate the support, Michael! I just went back to look, and you'd definitely start "DU" because there are an even number of notes on that string, so you want to do DUDU on the 2nd string to end with that upstroke. Hope that helps! 👍
Really dumb question, when you set the metronome at 301 bpm, are you playing 602 notes per minute? I assume you are playing 8 notes per measure over 4 beats per measure. I am 62 and have worked pretty hard on getting faster but whatever I do, I can't get faster than about 350 notes per minute(picking every note). Any old guys out there that have learned to pick as fast as Chase with lots of practice? I do see this strategy helping but I can't see myself ever getting to his speed. Also, I started playing about 4 years ago so I was already old when I started.
I don't really think about it like that, but I suppose if I was playing 8th notes for a minute straight then it would be 602 notes per minute. 4 years isn't that long in playing an instrument so I'd give yourself some time. I help a lot of older guys with jazz guitar in my community, Chase's Guitar Academy, if you're interested in going more in-depth.
I recently bought the 60 master lines book and will start working through it. I don't understand example #4 about single strings in this video. In the 2nd measure, how does the b on the & of 1 not violate the rule? I think you said on the video to stay within the strings, but I don't understand how that's possible. Once you pick the note, you would be "trapped." What am I missing? Thanks!
Thanks for the question, Rick! When you have only note per string and are not going to use a down sweep or up sweep, then you alternate pick. The way you avoid getting the pick trapped is by slightly rotating your wrist after the downpick so you can be set up for the next up pick.
Very interesting, but there's another aspect of playing fast that you don't mention. That is, playing live with other musicians. You'll never achieve full mastery until you're in a real-time situation. You'll never be as incredibly fast as Jimmy Bryant and Speedy West unless you are challenged to do it for real. If any guitar player in the world today---- jazz or any other genre--- can play as fast as Jimmy and Speedy on tunes like "Frettin' Fingers" and "Stratosphere Boogie"----- then you can really say "I can now play fast!"
Yes the whole context here is playing fast improvised lines, which you would be doing live with other musicians. The two guitarists you mention are playing in a different context as mostly country lines that are already worked out or as short solo breaks. In my opinion it doesn’t really come close in difficulty to the continuously fast, improvised lines of guys like Benson or Joe Pass.
I was surprised to see that your first 2 examples show upstrokes on downbeats and downstrokes on upbeats. I’d find that the most challenging part to overcome as I’ve been playing 46 years doing the opposite (downstrokes on downbeats and upstrokes on upbeats). But yes the Troy Grady terminology and tips have certainly helped me increase my speed as well as it caused me to observe which pick slanting direction I was using and made me more conscious of which one would give me the best results when it comes to speed and cleanliness of any given line in any style. Anyway thanks for your video, well done and great info.
Great observation! What’s interesting is that in my analysis of many many Benson fast lines he tends to *almost* always start with an up pick on phrases that start on the down beat and vice versa. Took a little time to get used to but once I internalized the feel of the lines it was easier.
@@ChaseMaddox At least in my neck of the woods, it seems like it’s gospel to down stroke on the beat and up stroke on the and. The argument being that it affects your time feel and “swing” if you’re not consistent with your picking. Did you ever subscribe to this? Do you still do this at slower tempos? Overall do you think there are any compromises to picking in a more economical style vs. straight alternate picking based on the rhythmic placement of the phrase?
@@GLeD101 I did subscribe to this for a long time and I think it was a big factor in me not being able to play the lines I was hearing. In my understanding now, the concept of downstrokes on downbeats works only up until a certain speed. When it's a slower tempo the added distance your pick has to travel in that method isn't a big deal, but as the lines get faster you run into issues. I don't pick direction plays an important role in someone's time feel and swing feel, based on the fact that this picking style is played by guitarists like George Benson who I would consider one of the most swinging guitarists. Switching to that technique also didn't seem to affect my swing or time feel. Your time feel is more so affected by where you hear the next beat in your mind and not the physical element. Something I can discuss more in video!
If you slow down what you are playing, it sounds so corny and all it seems that you are saying is, " I can play corny stuff at 300bpm. " BIG DEAL ! Why not show us how to play interesting lines, that are original, and develop into grown up music.
I'm interested, but I bought one of Peter Farrell/Benson books which includes his "secret" picking technique. In fact it all relies on systematically changing strings on a down stroke, which in turn induces a even number of note per string, and also playing some on the beat notes on a upstroke. I refuse to have my phrases dictated by such limitations, and having to change all my usual fingerings to fit these rules.
I understand why you might think that it’s limiting, but in reality it’s not because there are many ways to adjust and NOT have to play an even number of notes per string. Too much to explain here, but it’s a totally freeing style not limiting. Ask yourself, does Benson sound limited in his approach?
Extremely helpful. I've been through all of Troy Grady's vids and yours summed it up nicely. Also, what's your signal chain? Amp? Additional pedals? I also have an Ibanez Artcore custom and love it.
Thank you Chad! I'm dropping a video this week that talks about all of the equipment I use including my amp, signal chain, pedals, video gear, etc. so stay tuned! 🤘
I'm wondering what sort of pick you use and how you hold it. Do you use a softer pick and let the pick bend, or do you use a stiffer pick and let it move in your fingers or perhaps not let it move at all? It seems like if the pick is slanted downward then the upstrokes might be difficult.
In my experience, 95% of the issues come from bad right hand mechanics. The left hand mechanics basically come down to moving the fingers as efficiently as possible with as little unnecessary movement as possible.
Probably worth noting that most "speed pickers" would clock what you're playing there at 150bpm but since your metronome is setup to click in an eighth note pattern instead of quarter notes, it is doubled in speed. If you were actually playing 4 notes per click, that would then be considered speed picking 16th notes at 300bpm in the speed picking athleticism circles. I'm only pointing this out because of your video thumbnail stating "How to play at 300+ bpm", and most hard-core speed pickers posting "...300bpm..." on TH-cam are working on playing a barrage of twice as many notes in the same amount of time as what you're doing here. Any beginners watching this should at least be aware of the difference before they go bragging to their peers about speed picking at 300bpm. Still a great lesson summarizing some of Troy Grady's work, and nice lines!
Thanks Dave! Most jazz musicians if counting off a tune at 300bpm would mean the tempo I’m playing. That’s what I’m referring to, not however speed pickers count, but I appreciate you pointing out the distinction 🤘
@@ChaseMaddox That's good to know as well and thanks for clarifying! It's crazy to hear someone from the metal speed picking community do 300bpm of 4 pick strokes to a click. It's rare, but I do come across them sometimes. In the bluegrass community it is usually measured as I described and 150bpm is considered "getting up there" in terms of speed, but many virtuoso bluegrass pickers might clock somewhere closer to what would be 340-360bpm in your metronome setup or 170-180bpm in mine. Troy Grady has gotten into bluegrass lately so wondering if you might have seen any of that. Cheers!
Do you always play with the shoulder of the pick rather than the point? (Not crucial, I'm just curious about that.) Good lesson! Hope I get the same result! ;o)
I have for the last few years or so. I found I liked the tone and feel I was getting from the pick more that way, but it's very much a personal thing and wouldn't affect the mechanics of the picking discussed here much.
@@ChaseMaddox I have tried that way before. I like the tone too. Also, the pick seems to "turn around" less when I hold it that way. But NOW I realize I may have been using inefficient mechanics and THAT was the problem, not my pick grip itself. Live and learn. ;o)
Nice work. It's really helpful to have real, melodic lines for this kind of practice. I'm working my way through a lot of this, so great timing. By the way, the rock/shred folks refer to quarter note bpm for 16th notes (e.g. 150bpm is 10 notes per second), and apparently the jazz folks refer to quarter note bpm for 8th notes (300bpm is 10 notes per second). Could you expand more on your comment that 'we don't' use the same pick stroke on upstrokes on adjacent strings 'in this style'? Economy picking would seem to be a simpler approach than inside alternate picking as in the descending portion of example 4? At 10:11 you pretty much have to rotate to an upward pick slant anyway to avoid being buried between strings 3 and 2 after the B note (start of bar 2, Ex.4). Seems like it's a tradeoff worth exploring, as time is lost in the wrist rotation anyway. Thanks
So, would it be fair to sum up this video by saying the two tips for faster playing would be, 1) downward pick slanting, and 2) closely scrutinizing the up/down sequence of the lines you’re playing and sticking to that formula?
Yes I think those are the main two takeaways. I’d just add that there are some exception where this picking is not used, like doing consecutive up sweeps on a maj7 arpeggio.
@@ChaseMaddox Great vid, and I think you’ve given a lot of food for thought. I’ve tried the down slant picking, with limited success; I’ve been pretty much a “perpendicular picker” my whole life…but then again, so is JMcL and Pat Martino, to name a few. Benson, def a down slanter. But as far as the other part about the up/down alternation, it seems to me, one would need to work out and practice these kinds of things endlessly, in addition to using it with every other kind of scale or arpeggio one could imagine-not just the pentatonics in your vid. I can understand how this might improve efficiency of speed, but the amount of practice needed for such a thing is enormous; at least to try to “cover all bases,” which is what I think you might be after. And that is almost completely impractical, because when you hit the “stand” all that stuff goes right out the window in favor of playing something that either makes sense or fits in with the rest of what’s going on. I believe this to be a great discipline, but, as I say, in the context of real playing, and being on the spot, it seems to me limited. One would need to have this stuff SO intellectually “locked in,” that the actually thought process is automatic. hope I’m explaining that clearly enough….but all your vids bring up really interesting ideas to ponder…very intriguing….
Really choke up on that pick don't let a lot of it show out of the end of your finger and thumb. Then there is nothing to get trapped between the strings. Learn efficiency picking simply use whatever pick stroke you need not just down up down up etc... . You might pick up up down up for that line. Single notes sound the same up picked down picked or alternate picked. The way the chords sound matter which direction they are picked not single notes.
@@ChaseMaddox yes but you said and showed the pick gets stuck between strings affecting speed. Hence the getting back into the down stroke position. Not the way I hold my pick it's nowhere near the strings to little of the pick shows at any given time. It was less a comment for you and more for people that believe silly things. Here is an example some people think a down stroked low open E sounds better than an upstroked low open E. They don't it's the same note I've been told if you don't down pick every note in any metallica song it's not as punchy and tight. Wrong again they just are not playing in time with the beat. Sure if you up stroke the power chords in Master of Pupoets something sounds off. The E pedal going on through most of the song it's one note doesn't matter which way you pick it it's an E note.
This video (George Benson Picking Part 1 Angle Rest & Anchor th-cam.com/video/KqSigkwNnck/w-d-xo.html) demonstrates the backward picking, this produces the best sound for Jazz; I'm almost certain Martino, Frisell, Jim Hall, Metheny etc play this way even though their hands look a little different as they each have their way of holding the pick. Benson's is the most exaggerated. At the start of your video you demonstrate more of a traditional 'pick slant' like the shred guys, is that correct? Since watching this video I have been playing through the Barry Harris descending half-step rules incorporating a mix of the two - the backward picking with the 'end on an upstroke rule'. This seems to be the best of both, and may as well just be called 'Benson picking' which I take to mean economy picking but with the 'backwards' pick angle for the warmer tone, which you personally compensate for by using the round/larger end of the pick. What I'm asking is that you try the techniques in this video but with the backward picking rather than the shred pick angle that you use. I was thrown by you calling this 'Benson picking' because that incorporates the backward picking rather than pick angling ala Troy Grady. Apologies if this is autistic but I want to be specific.
Thanks again for your comment. I think it adds a lot to the discussion and hopefully others will check these other options out too. I’d say you’re correct that I’m using more of the traditional pick slant and not as much backwards picking. I tried it out for a bit today, and the only way I could get it to flow is switching to using the pointed end of the pick instead of the rounded edge like I’m used to now. I also think you’re right that the usual downside of not backwards picking would be a thinner tone, but I don’t find I’m having that issue since I use the rounded pick edge.
@@ChaseMaddox Ok interesting, so downward pick slanting but with the round edge to compensate for the thinner sound. Glad you made this video as it's good to rehash and reevaluate these things. Also, try out a Pro-Plec 351 D'Andrea 1.5mm pick if you can, they are like no pick I've used before, totally different tone, incredibly warm. Jonathan Kreisberg uses them and I'm convinced it's one of the key elements of his tone. It's because of these that I don't do the 'round end of a big pick'. I've tried and often compare them and the Pro Plec wins out everytime in tone.
Subscribed. I love jazz players on youtube! You can also use upward pick slanting. Really the 2 are both equally useful. (given that you probably also don't want the string attack to be parallel, but closer to 45 degrees.) The direction of the pick slant should change depending on how you want to cross to the next string. For instance, you can have upward pick slanting (the top of the pick slanted upward), end on a down stroke, and move to any thinner (presumably nearby) string - since this is the direction (down) that you're already moving it becomes quick and effortless, and your slant is helping you escape. Or you can have downward pick slanting and end on an upstroke, and move to any fatter string (or stay on the same string). 2 way pick slanting is a real challenge. The trick is gaining control of both slanting directions so that you don't need to think about it. The one way pick slant is like the training wheels to get used to the patterns formed with that slant. But, if you have downward pick slanting and end on an upstroke, and try to move to a skinnier string, the direction of movement of the pick at that moment is opposite of the string you want, so this is kind of equally slowing to one's speed, as having to fight with being trapped by a string (having to quickly adjust the wrist to somehow hop over the string in a non-routine way). I found I needed to slant for ESCAPE, but also to slant in order to OPTIMIZE DIRECTION to be conducive to speed when changing strings. This can result in a very slight pick slant, to optimize for both needs. (When the slant is conducive to direction to the next string, there's less distance to hop since the pendulum is closer to the target string one is changing to). The ideal is to use pick slanting for both these problems. In the case of helping with direction, with the top of the pick slanted downward, one is closer to the next thinner string. With the top of the pick slanted upward, one is closer to the next lower string. (Just my 2 cents of trying to work this out according to how my own natural evolution was from upward slanter to 2-way slanter). For example, a really difficult line to play quickly is to start on the A string, play 2 notes beginning with a down stroke, and cross to the D string and play 2 more notes, etc. In this pattern there is an upstroke just before crossing to the D string. (Opposite to the direction of the D string). You'll find that if you change to a downward pick slant at the moment of that upstroke, while at the same time using that changing slant of the fingers/wrist to bring your hand over the D string, then this should be better than starting with the downward pick slant. In other words start with a roughly unslanted pick, and the slant change before the D string works in your favor and becomes part of the movement to the D string. A good exercise is actually to play that 2 note per string riff, but periodically drop one note to change the picking pattern. The goal is to change the slant appropriately. Down up going to thinner strings is best played with the first note on the string relatively less slanted, and the 2nd note downward slanted at the last moment to help towards bringing the hand over the next string. (both an escape and a slanting motion bringing one to the next thinner string.) Conversely, doing a 2-note per string pattern going from fatter to skinnier strings, starting on an upstroke, will be easy for the upward pick slanter (like me). Because the direction of motion of each pick upon the string changes is in the direction of the string change, this optimizes for pick escape, and doesn't require the optimization for direction. But if you are coming back from thinner to thicker strings, and haven't skipped any notes, (still up-down up-down per each string, then crossing to a fatter string) now if you keep the upward pick slant you BOTH bury yourself between the last and next string, AND your picking direction is contrary to the direction of the next string. And if you change to full on downward pick slanting you're able to correctly escape, but if you slant to suddenly your wrist is moving contrary to the direction of the next string. So the best way is to learn to sense both aspects, and not get carried away with over slanting, but rather to use the right amount of very slight changes in slant and wrist motion to optimize for both escape and momentum/direction.
@@ChaseMaddox I started out innocently but got way too deep there - but thank you for excusing my indulgence. I hope your channel grows quickly and you get to work on a lot of content you enjoy.
This video couldn’t have come at a more opportune time! I’ve been getting into the band Yes and Steve Howe’s playing has me relistening to Django Reinhardt, Charlie Christian, Barney Kessel, and so many other jazz guitar legends. Can’t wait to see how this improves my playing after like 15 years of being stuck in a blues, rock and, folk guitar mindset!
What challenges do you have with playing fast?
Left-right hand coordination. I'll watch your video here with interest!
Haha classic metal problem....
Thanks Simon! Let me know if you have any questions.
Hard to hear things at those tempos… so I leave space. Pat Metheny, for example, I don’t know how he hears at such tempos. John McLaughlin, yes, I hear, but Meth?
@@ChaseMaddox A simplified version of this that Josh Meader uses is last note of any lick use a hammer on or pull off
Realising very early 30 years ago I couldn't pick fast, I evolved my playing into a mix of picking combined with hammer on and pull off's. To this day my limit is eighth notes at 220bpm. Picking every note feels foreign to me. I would love to be able to do this and play at 300 bpm but it would require going back to the start and I'm afraid to change. I think the ability to play fast opens up a freedom that I may never know. I noticed that you were an every note picker before you discoverd this techniqe, and I think that's why it only took you an hour to incorporate it. Thanks for this video. It was very informative.
I feel you! For the first 15 years I couldn’t play much beyond 240bpm as eighth notes either. I wasn’t picking everything and would compensate frequently with lots of hammer ons, pull offs, and slides. You can definitely incorporate this and get to 300bpm. I didn’t think I’d be able to for the longest time but this technique just clicked for me. Let me know how it goes 🤘
"Realizing". You should realize how to spell first
@@kilroywahzhere2476 These kinds of comments aren’t appreciated on this channel. If you have something of value to add, please do. Also, “realising” is the preferred spelling for English-speaking world outside of the US.
@@ChaseMaddox Boxing troll ears got a follow from me.
Trolls will learn they don’t get a free pass on this channel :)
Nicely done! You are way above my “pay grade”, but I could easily follow your descriptions and demonstrations of the techniques. Thanks for posting!
Thank you! Glad it was helpful to you!
Awesome stuff, I came to this exact conclusion about Dw pickslanting + legato a few months ago and it really has made a huge impact. I’ve been trying to incorporate hybrid picking with this to reach larger interval jumps in lines, it’s a fun addition
Absolutely! 🤘
Downwards pick slant , upstroke escape… upward pick slant downstroke escape … 2way pick slanting … cross picking double escape … Troy Grady has given us a framework for building licks in all genres …
He really did an amazing thing by categorizing everything like that. My goal for this channel is to have that same level of detail and explanation for all the concepts relating to jazz guitar playing and more.
Do you ever play rock or rock-blues? I watched Matteo Mancuso play jazz, but my gawd, he can rock it too. I really like your videos, am subscribed and have watched most of them. Really good stuff.
I probably gig mostly on blues, pop-funk, and then jazz. Glad you dig the videos! 🤘
Thank you so much man, after 40 years of playing, now i know why i couldnt play faster.
Glad you found the video helpful! 🤘
i love your book selection in the background !
Thanks Ed! 🤘
I love this video, it is the very best, thank you Chase. One third of th way through the 60 lines book and this is a very useful virdeo to get the best from the book. I can't recomend this highly enough it make so much sense and no BS !!!!
Thank you, David! Really glad you’re enjoying these lessons! 🙏
@@ChaseMaddox Chase, I think this could be another lesson as it delivers so much pratice value for improvement.. However , when I apply this to the 60 lines book it doesn't always seem to always follow the principles you have detailed . I am now at week 5 and generally find 1 in each key difficult to play and finger, I will see this through and then start again, I beleieve it is a very good investment of my pratice.
Excellent video!!! Love this technique, though how would I play a longer descending arpeggio with one note per string on several strings? For example, Eb major7 in 3rd position, descending. Thanks!
Thank you! 🤘The first thing is I wouldn’t generally be playing a long descending arpeggio with one note per string across more than 4 strings. If you do want to then the approach becomes consecutive down sweeps for descending or consecutive up sweeps for ascending. If the tempo isn’t too fast you could alternate pick instead.
@@ChaseMaddox thanks!!
Just found this post. It coulda been worse for you Chase. Troy Grady changed my life at age 49. Wish I had his insight 30 years ago.
Very true! Troy Grady has so much insight on technique 🤘
well I opted to go the two way pick slanting route, more challenging but I’m getting it down and less limiting for building lines to my way of thinking. esp w/ one note per string passages Got turned on to Andy Wood who employs this. Monster picker and beautiful player. I’m in his Patreon group and we do a Zoom call every Wed. You can see his two way pick slanting up close and personal. Absolutely fantastic.
Great lesson! First video of yours that i have seen, you got a new sub
Thanks Phil! You’ll definitely like some of my earlier videos too 🤘
Chase, how would you describe the motion of your wrist, forearm, elbow when alternate picking at these tempos?
My wrist moves in the same way it would if I was moving a tea bag up and down in hot water, basically in line with my forearm. The forearm can move, depends on how fast the tempo actually is and what specific technique I’m playing at that tempo.
This is awesome! Love that intro line 🔥
Thank you Caleb! 🤘🤘
Great explanation and exercise
Thanks Chris! 🤘
I only had to see about 30 seconds of this video before I hit Subscribe. Amazing Talent ! 🎸🎸🎸
Thank you! I appreciate the support 🙏
Nice summary of USX from Troy Grady! It’s a great technique if you have a resting downward pickslant. It’s also the way Yngwie Malmsteen plays most of his lines. This was me for a long time but lately I’ve made a lot of progress by keeping my wrist in a more neutral position (but still relaxed) which is opening up a lot more alternate picking lines for me. So many ways to play fast, it’s good to just go with whatever is most comfortable.
Thanks for checking it out John! 🤘
Every nice!
I used to pick this way for loooong time but have changed to a more neutral pick position now (no slant) with a minimal double escape motion. Once you get that you never have to think of even notes to get out of the strings for hitting the next one; you now are always escaping, both on a down and upstroke.
Watch a guy like Anton Oparin who can alternate pick anything at blistering speeds with this approach.
But, sometimes I will change to the downward slant position because it still feels natural to me and gives you a certain sound.
As a massive Benson fan, I'm more than satisfied to mimic his approach to technique and lines as best as I can. It's cool that there are still so many other techniques that allow people to play crazy fast though.
How would this work for scales? It'd be nice to see this technique compared to the mortals down up down up taught when learning this.
Watch this video: I Couldn't Solo with Scales Until I Learned THIS....
th-cam.com/video/3Xemo5FzFqs/w-d-xo.html
I also do a "hammer-on save"!
🤘🤘
Another great lesson. Economy of motion is the key playing quickly. This kind of attention is what pointed Frank Gamble to " sweep picking " It can help staving off injury as well.
Thank you! 🙏 Never had any sort of guitar-related injury or tension.
@@ChaseMaddox Just you wait young man! 🙄
@@5geezersmy problems started at around 38.
@@chrisegonmusichow many years you been playing?
@@XxXHardcoreshredderxXXxxxxxxxx casually since I was fifteen but problems only started after about a year of serious practice.
Pretty Artcore? 😍 Cool vid. Thank you. 💚 🎸
Thank you! 🙏
Excellent 👏
Thank you! 🤘
Great technique … thanks for sharing … what pick size do you use ?.. and did it change as you got better ?… thoughts on that
Thanks for watching! 🤘I use Fender Heavy picks. I used to use Jazz3 picks but started to prefer ones that were easier to use for many genres of playing.
Wow, that fast sounds really like Pat Martino-level (aka impossible). Cool, thanks!
I was with you until I could do it! Try it out and let me know how it goes for you 🤘
TH-cam throwing shade. I was playing a slow blues at about 70 BPM earlier for about an hour just jamming and it shows me this....
Im grateful though because at one point I was thinking, “my girlfriend wouldn’t want to always hear this. I should learn some quicker stuff.”
Lol the AI is getting too good! 😄 But I’d bet your girlfriend is much happier with you playing a slow blues than some fast jazz lines.
So either playing triplets or 16th notes will always be required. How exactly does one play that at 300 bpm?
Your assumption is wrong. In the context of jazz at that tempo, triplets and sixteenth notes would be unusually fast, although can happen as a quick flurry. Most of the time those rhythms would be used at a slower tempo.
@@ChaseMaddox I'd say that for interesting rhythms you need at least be able to play eight note triplets. What piece is at 300 bpm?
What model is your guitar? Love your lessons, thanks.
Thanks! It’s an Ibanez Artcore AG85
@@ChaseMaddox I apologize for keep bothering you, but is the guitar made in Japan? Also if you could have only one jazz guitar in Ibanez line up, what would you pick? 🙏
@@JP-gt8qr no bother at all! I don’t know where Ibanez produces these guitars from, you’d have to ask them lol. Honestly probably this same guitar or maybe the GB model, but I like that I can gig with this and not worry if it get beats up because it’s relatively inexpensive.
I don't quite understand the DU technique in example No. 4. E. g. on the 1 "and" and the 2 of bar 2 there's the transition between a b and a g from the 3rd to the 4th string and I just don't get how I can play this in a DU-manner because After the pick-slant the pick is resting on the 2nd string and it seems really hard to get to the 4th string that fast. Can you help me?
Good question. The technique there for when you have single notes on different strings relies on alternate picking and wrist rotation. Once you pick the B note down, immediately rotate your wrist as if you’re turning a key in a door, so that the pick does not rest on the second string. Then you can easily access the G with an up pick. Hope that helps 🤘
In the example using the pull-off, have you considered ‘hybrid-picking’ = using ring or middle finger to play the odd note?
I first saw this when I slowed down a video of Vinnie Vincent playing some really fast gibberish.
When I started playing 100 years ago in the early 80’s, I used hammer-ons and pull-offs. Metal shredding literally became a ‘thing’ in my formative years of learning and I never became a shredder so to speak, I built my speed with a pick relying on hammer-ons n pull offs. I also spent many years playing with my fingers. It wasnt til the layoffs during the pandemic that I totally overhauled my right hand playing and started trying to get the shred thing down. However, I soon dumped the pick again because I thought it would be more fun to try getting my finger picking to be as fast as using a pick. I started practicing a descending 5 note pentatonic run alternating starting with left ring- down five notes then jump back up starting with left index. If you picture what Im saying it is a cyclical pattern and I just try to play it as clear and fast as possible.
My observations are that you can play notes with your fingers as fast as with a pick but you cant play all the same type of lines. For example it would be hard to trill on one note with your fingers but you can arpeggiate chord notes with blistering speed. Also to note: I use thumb, index, middle, ring, and sometimes pinky of right hand to play the notes. Im also a lefty playing right handed.
Thanks for the thoughtful comment! I’ve tried hybrid picking for certain country licks. My impetus in learning this style is to be able to play like my jazz guitar hero, George Benson. Because it’s a similar picking technique to what he does it integrates well with the kind of lines he’s playing.
@@ChaseMaddox Yes and I should add that you did a great job simplifying the understanding of Troy Grady observations along with your refinements.
Youve really focused the whole thing and made it easy to understand and implement.
I love Benson. Wes is also the man and I guess he’s given me the encouragement to keep playing with my fingers.
That was my goal, so I'm glad you think that was accomplished in the video. My top 3 guitarists I'm digging currently are Benson, Wes, and Kreisberg.
@@ChaseMaddox Kreisburg is great. What I love the most about him is that he’s not a Wes clone. There are ‘Wesisms’ as we all have, but he’s inventive.
Absolutely! I had a great interview with Kreisberg that you can find on this channel too 🤘
nice job 👍
Thank you! 🤘
Yes, it’s not hard to play at 300 bpm if you are playing 8th notes or 4th notes. But usually people measure speed in 16th notes.
No they don’t usually. Musicians that play gigs and call tempos would call this 300bpm. The exceptions are bluegrass players and speed pickers on the Internet.
Haven't finished the video yet, but what are the chances of doing this without a pick?
Nice guitar. I have the sunburst AF-75, and it's probably my favorite ever (I'm almost 50)
You wouldn’t use this technique without a pick. Many people play fast without a pick but your lines and ideas have to be played differently.
@@ChaseMaddox I dropped too many early on (real pain to get them back out through an F-hole) and switched to bass in the 90s anyway. Getting back into it, and am used to pizz. Have you got any lessons about it, or know of some good ones? Ir give them privately?
Scratch that last question - just found your site.
All of my teaching is at Chase’s Guitar Academy which you can find via www.JazzMemes.org 👍
bro is really giving away the middle finger mid play 😂😂
🤷♂️ 🤷♂️ 😂
Use your pinky ,holdsworth/Martino
Don’t use the pinky - Benson (mostly) 😄
Django trumps all of us !!
Hahaha good point!
in Gypsy jazz they call that "rest stroke" picking.
👍👍
Playing fast is like hot sauce , a little is ok, a lot leads to ear fatigue! To pick fast, just turn the pick sideways!
I like that analogy 👌
Nice lesson! But I don’t use picks. Yea, I know, I’m weird lol
Lol glad you somehow still found the lesson interesting!
Thanks for sharing but you do not wait for trigger points in the beat you play on top of it and my experience is that most music consumers do not value speed as much as guitarinterested people do.
What do you mean by trigger points on the beat?
300bpm is pretty much 75bpm
Lol ok sure it is
The inside picking (high to lower string using Down Up) in one note per string section looks like a quick switch to an upward pickslant. The USX motion and orientation doesn't look very extreme although probably there somewhat
Nice eye for detail. I think that’s correct because if you kept the downward slant you’d be trapped in the next string again. The quick switch to upward pickslant avoids that. That’s my natural tendency with this but not sure if that’s exactly how Benson and others do it for one note per string things like triads.
Playing fast is not a problem. Anybody can play fast. But not everybody has something interesting to say.
This just isn’t accurate. Read all the other comments from people who struggle with playing fast.
Impressive , but as i get older i realize that im never gonna play that fast, in fact i cant even think that fast.
i believe many people cant hear that fast either.
I focus on melody and note choices primarily. And as you alluded to, beat division, technique and phrasing.
Ill leave the fast stuff to you young people, lol.
I respect your proficiency ,
Thanks for the comment! Even if your goal isn't playing fast, I think you'll find it will still be a good way to improve technique and phrasing 🤘
@@ChaseMaddox thanks ill give it a shot,
Great! Let me know how it goes and if you have any questions.
Hogwash. Right hand is personal and there is no empirical way to do it right. Fast or slow, doesn't matter.
Sure it’s not codswollap?
@@ChaseMaddox It could be that or balderdash.
@@seabertotter4325 complete poppycock
Why is there a cut every 3 words? I am astounded at how distracting it is, and difficult to follow. I feel like it's an unnecessary trend that a lot of YT channels are doing. It's awful.
A bit of an exaggeration there, but the cuts significantly increase average view duration during the first 30 seconds which then drastically increases the reach of the video and TH-cam showing it to more people.
@@ChaseMaddox Sorry man. It had the opposite effect. Good luck though.
“The picking technique [CUT] I’ll be discussing [CUT]…”
Lol sorry your attention span is so easily distracted
@@ChaseMaddox Well, quite the contrary. I was trying to say that your content is engaging enough that you don't need the artificial cuts. But if you are trying to appeal to those who can't sit through a basic intro, then I wouldn't know about that. Keep on keeping on I guess.
Glad you think so. My point is that having a high retention % for the first 30 seconds is important to get my video shown to more people, one way to do that is the cuts. It has nothing to do with appealing to people who can’t sit through an intro, but how TH-cam works.
Playing fast does not aways translate to playing good.
True!
Clickbait is real in this vid. 300 bpm but its 8th notes. Here I am thinking 300 bpm 16th notes...
Playing at 300bpm in a jazz context means 8th notes, nothing “clickbait” about it.
My girlfriend prefers i play slowly
Lol 😆
Why exactly does one need to play at 300 bpm
.. fastest music I know of is slayer at 260 bpm...sorry I'm not trying to revive speed metal. Its a dead genre
Go listen to Cherokee at 300bpm
Thank you for this lesson ! I never really gave this any thought to be conscious of what direction to start or end picking. I can feel the improvement already on the first line.
That’s what I like to hear! Thanks for checking it out 🤘
Thanks so much for your time and inspiration. I'm 72 but determined to get to 300 before I kick the bucket.
You can totally do it! 🤘I teach an older student and he’s made incredible progress in the few years we’ve worked together.
Thanks for your encouragement Dan. I've got champagne aspirations but lemonade hope!
@@jezzatakla lol my name isn’t Dan 😄
@@ChaseMaddox See I told you I was an idiot, but would you listen? Sorry Mr. Memes.
@@jezzatakla finally got my name right! 😁
i keep flipflopping between my standard alternate picking technique and the technique showcased here when playing the first line. when using the technique showed in the video i can play each note much smoother and with better articulation, and i've practiced it for maybe an hour. it's kinda scary how immediately it improves my playing 😅
Right?! That was basically my experience too.
It's not bpm... that means nothing. It's how many notes per beat that counts.
🫡🫡
Gypsy Jazz players use a picking technique that involves always using down strokes when starting a phrase on a new string. They also use the downtilt method which they refer to as a "rest stroke" because the pick rests on the string below. Double down strokes (three notes on a string and then a second consecutive downstroke when moving to the next string) is something you practice but it can be down quite fast. Using either that method or the one you're showing means careful planning of fingering to make the run as efficient as possible. Either way it's about what works for you.
Thank you for this comment! I agree with you that either method requires you to build your line vocabulary with your picking technique in mind.
yes, in fact troy brought several gypsy jazz guitarists
Since I was 16 I always picked towards the next string economy picking,
I didn't even know strict alternate picking was different until long after.
In my constant case, the Pick clatters into the strings, or starts to slip from my fingers. No matter how much metronome, patience I use, I cannot get smoother, faster at alternate picking. Be it Jazz here, or even fun things I love to do like working out my fave classic video game tunes.😁
Try this technique out and let me know how it goes!
What kind of game songs are you checking out? :)
You might check your grip. I found after many years I was not quite holding the pick in the 'traditional' grip, and moving to that helps a lot. Kind of subtle. The key for me is realizing the 1st finger joint should be exactly parallel to the side of the thumb. I used to have my finger pointing more down toward the tip. It makes a big difference with pick control, as this naturally locks the thumb joint to the 1st finger - less movement now.
Also you could try different kinds of pick, like ones that have specific kind of grips, but try as many as you can get to find the one that suits better for you and has the tone you are looking for, don't feel discouraged, if you try hard enough you will get there and your effort will be rewarded😎
Try some white fang picks.
Wonderful! Now please make a video on your left-hand technique! Especially descending in pitch… and maybe a few exercises for us Noobs to learn this slowly! Many thanks!
Thanks Adam! 🤘What would you want to know about my left-hand technique for descending? Also, I do have a course called 28 Days to Fast Jazz Lines Challenge that breaks down playing fast into 1 bite-sized idea to practice each day 👍
I have been noodling for so many years and this is the first time I have taken a look at right hand technique. A very huge "aha" followed by a "duh" Either way thank you so much for taking the time to make this video!
Thanks for checking out the channel Jacob! I had a similar feeling when I realized this picking technique and I wanted to help other guitarists learn it so they didn’t have to struggle with not being able to play fast for 15+ years like me 😅
I play gypsy jazz! I love analyzing picking strategies and this video is great and I learned a lot of new stuff! I know this is not gypsy picking technique but I’m going to transfer a lot of the way your thinking into gypsy technique..such as the way you think about x notes per string. Thanks for the great content!
Glad you enjoyed it, Joe! Other guitarists have told me that it pairs well with gypsy jazz style, although I don't personally play much in that style 🤘
Lovin the guitar, man the Artcore series has such a "bang for the buck" going on, play mine all the time, great action/sound for the price, the Jazz box size is the only thing keeping it from being my main player-for that i go to the Gretch Electro semi hollow,thin but still has that hollow sound that is so so sweet. Anyway, great vid -Cheers
It totally does! This one is technically a 3/4 hollow body with a smaller size so it fits really nice compared to large arch tops. For me it’s the perfect balance between arch top and semi hollow. Thanks for the comment! 🤘
@@ChaseMaddox Ah nice, diden't know they have the smaller sizes/ bought mine like 7 years ago, was gona sell it, but like a few others in my collection-glad I dident! Ah k k just like the Gretsch /they come in smaller sizes also. Yep size is such a conundrum, the bigger it is usually the better sound, but then can get annoying after playing for long periods of time! ha Yep, great vid thanks for the lesson!
Thank you! 🙏
one suggestion. When learning a phrase or pattern LEARN IT SHOWLY, you go right to 300 bpm... WRONG. ( learn a string at time)
Pat Martino was a master of the jazz language. Charlie Parkers sax lines are fabulous to first transcribe then play on any instrument.
I think it's more important to analyze just what so are "saying" in a line...Is it within the context of the harmony, does it rise and fall, etc? Technical facility is extremely important. Playing fast, for many people, causes them to lose track of what they are trying to say, musically.
Transcribing great artists will help with learning the language and executing the ideas by applying the techniques which allowed them to play those lines.
I am interested how you would apply this technique to a transcribed solo of let's say Martino, McLaughlin, or another guitarist who's technique is different to execute the lines they play...
Guitar playing is not about playing fast...it is all about good melody, musicality and playing with emotions musically. Just look at 95 % of legendary guitarist such as Jimi Hendrix, David Gilmour, George Harrison, SRV, Bryan May, Jimmy Page, Jeff Beck, Richie Blackmore, Carlos Santana, Neal Schon, and countless other great guitarist.
They don't play fast, they play with feel and some good, quality melodic notes, and that's why they become greats and iconic....enough said. 🤔😃😎
It’s not all about playing fast, but basically all of the guitarist you named could also play fast when needed.
@@ChaseMaddox Not at 200bpm or more they didn’t.Unless perhaps your bpm are 8’s not 4’s.
Melodic lines?Not something shredders really bother with.And of course ,they wont be remembered
I discovered Troy Grady a while back, especially the episode with Andy Wood. With a few simple exercises (with the help of Ben Eller), I spent the last 2 months trying to finally nail something that has eluded me my entire life. It worked 💪. Magic. Free at last.
Great content by the way. Thanks 😊
I do upward pickslanting now too, and pretend I'm John McLaughlin. Fun for days.
It's a great feeling for sure! I pretend I'm Benson so I get the vibe.
I save him for downward pickslanting. 🙂
Loving your content by the way. Troy is great but it's all shred stuff mostly ( no disrespect) so it's great to see this in a jazz context. You deserve many more subs. Thank-you.
Great video, my problem is matching left hand finger placement with a faster tempo arrangements... Any drills that can assist me on that issue would be very helpful!!! Thanks in advance!
I don’t have specific drills for that but it is something Dan Wilson discusses in his upcoming course with us! Check out the waiting list for it below 🤘
I wonder how to play Technical Difficulties by Paul Gilbert using this approach?
Don’t know that one!
Great Lesson
May I know what guitar are you using
The red finish looks really nice
Thank you! It's an Ibanez AG86
Hi Chase. Thank you for all your informative videos. I always give a thumbs up and subscribe. QUESTION: how would you apply this picking technique video to your #14 (Benson’ smooth Bebop) short video? Would you start that lick with a “DU” or “UD” or “DD”?
Appreciate the support, Michael! I just went back to look, and you'd definitely start "DU" because there are an even number of notes on that string, so you want to do DUDU on the 2nd string to end with that upstroke. Hope that helps! 👍
Really dumb question, when you set the metronome at 301 bpm, are you playing 602 notes per minute? I assume you are playing 8 notes per measure over 4 beats per measure. I am 62 and have worked pretty hard on getting faster but whatever I do, I can't get faster than about 350 notes per minute(picking every note). Any old guys out there that have learned to pick as fast as Chase with lots of practice? I do see this strategy helping but I can't see myself ever getting to his speed. Also, I started playing about 4 years ago so I was already old when I started.
I don't really think about it like that, but I suppose if I was playing 8th notes for a minute straight then it would be 602 notes per minute. 4 years isn't that long in playing an instrument so I'd give yourself some time. I help a lot of older guys with jazz guitar in my community, Chase's Guitar Academy, if you're interested in going more in-depth.
I recently bought the 60 master lines book and will start working through it. I don't understand example #4 about single strings in this video. In the 2nd measure, how does the b on the & of 1 not violate the rule? I think you said on the video to stay within the strings, but I don't understand how that's possible. Once you pick the note, you would be "trapped." What am I missing? Thanks!
Thanks for the question, Rick! When you have only note per string and are not going to use a down sweep or up sweep, then you alternate pick. The way you avoid getting the pick trapped is by slightly rotating your wrist after the downpick so you can be set up for the next up pick.
Very interesting, but there's another aspect of playing fast that you don't mention. That is, playing live with other musicians. You'll never achieve full mastery until you're in a real-time situation. You'll never be as incredibly fast as Jimmy Bryant and Speedy West unless you are challenged to do it for real. If any guitar player in the world today---- jazz or any other genre--- can play as fast as Jimmy and Speedy on tunes like "Frettin' Fingers" and "Stratosphere Boogie"----- then you can really say "I can now play fast!"
Yes the whole context here is playing fast improvised lines, which you would be doing live with other musicians. The two guitarists you mention are playing in a different context as mostly country lines that are already worked out or as short solo breaks. In my opinion it doesn’t really come close in difficulty to the continuously fast, improvised lines of guys like Benson or Joe Pass.
I was surprised to see that your first 2 examples show upstrokes on downbeats and downstrokes on upbeats. I’d find that the most challenging part to overcome as I’ve been playing 46 years doing the opposite (downstrokes on downbeats and upstrokes on upbeats). But yes the Troy Grady terminology and tips have certainly helped me increase my speed as well as it caused me to observe which pick slanting direction I was using and made me more conscious of which one would give me the best results when it comes to speed and cleanliness of any given line in any style. Anyway thanks for your video, well done and great info.
Great observation! What’s interesting is that in my analysis of many many Benson fast lines he tends to *almost* always start with an up pick on phrases that start on the down beat and vice versa. Took a little time to get used to but once I internalized the feel of the lines it was easier.
@@ChaseMaddox At least in my neck of the woods, it seems like it’s gospel to down stroke on the beat and up stroke on the and. The argument being that it affects your time feel and “swing” if you’re not consistent with your picking. Did you ever subscribe to this? Do you still do this at slower tempos? Overall do you think there are any compromises to picking in a more economical style vs. straight alternate picking based on the rhythmic placement of the phrase?
@@GLeD101 I did subscribe to this for a long time and I think it was a big factor in me not being able to play the lines I was hearing. In my understanding now, the concept of downstrokes on downbeats works only up until a certain speed. When it's a slower tempo the added distance your pick has to travel in that method isn't a big deal, but as the lines get faster you run into issues. I don't pick direction plays an important role in someone's time feel and swing feel, based on the fact that this picking style is played by guitarists like George Benson who I would consider one of the most swinging guitarists. Switching to that technique also didn't seem to affect my swing or time feel. Your time feel is more so affected by where you hear the next beat in your mind and not the physical element. Something I can discuss more in video!
If you slow down what you are playing, it sounds so corny and all it seems that you are saying is, " I can play corny stuff at 300bpm. " BIG DEAL ! Why not show us how to play interesting lines, that are original, and develop into grown up music.
Aww do you play grown up music?
I'm interested, but I bought one of Peter Farrell/Benson books which includes his "secret" picking technique. In fact it all relies on systematically changing strings on a down stroke, which in turn induces a even number of note per string, and also playing some on the beat notes on a upstroke.
I refuse to have my phrases dictated by such limitations, and having to change all my usual fingerings to fit these rules.
I understand why you might think that it’s limiting, but in reality it’s not because there are many ways to adjust and NOT have to play an even number of notes per string. Too much to explain here, but it’s a totally freeing style not limiting. Ask yourself, does Benson sound limited in his approach?
Extremely helpful. I've been through all of Troy Grady's vids and yours summed it up nicely. Also, what's your signal chain? Amp? Additional pedals? I also have an Ibanez Artcore custom and love it.
Thank you Chad! I'm dropping a video this week that talks about all of the equipment I use including my amp, signal chain, pedals, video gear, etc. so stay tuned! 🤘
Sweep picking is the secret...no need to plan even or odd numbers
Works a lot of the time but not always for the articulation and accents on certain jazz lines
@@ChaseMaddox example?
I'm wondering what sort of pick you use and how you hold it. Do you use a softer pick and let the pick bend, or do you use a stiffer pick and let it move in your fingers or perhaps not let it move at all? It seems like if the pick is slanted downward then the upstrokes might be difficult.
I use a Fender Heavy pick now and have used a Fender Medium with this technique in the past. Both work 👍
Everybody play with a diffrent hand position...is cool...but it wont help if I place my hands diffrent
Maybe so. But the approach of understanding your technique in detail can still be applied to whatever picking style you use.
Good vid, but would have liked to hear about how to work on getting your LEFT hand up to 300 bpm. Thanks.
In my experience, 95% of the issues come from bad right hand mechanics. The left hand mechanics basically come down to moving the fingers as efficiently as possible with as little unnecessary movement as possible.
Awesome video and content as always 👍🎸 thanks so much for all the work involved in putting out these videos
Thank you! Happy to do it as long as you all are getting good value out of them and I can share what I’ve learned. Cheers 🤘
Probably worth noting that most "speed pickers" would clock what you're playing there at 150bpm but since your metronome is setup to click in an eighth note pattern instead of quarter notes, it is doubled in speed. If you were actually playing 4 notes per click, that would then be considered speed picking 16th notes at 300bpm in the speed picking athleticism circles. I'm only pointing this out because of your video thumbnail stating "How to play at 300+ bpm", and most hard-core speed pickers posting "...300bpm..." on TH-cam are working on playing a barrage of twice as many notes in the same amount of time as what you're doing here. Any beginners watching this should at least be aware of the difference before they go bragging to their peers about speed picking at 300bpm. Still a great lesson summarizing some of Troy Grady's work, and nice lines!
Thanks Dave! Most jazz musicians if counting off a tune at 300bpm would mean the tempo I’m playing. That’s what I’m referring to, not however speed pickers count, but I appreciate you pointing out the distinction 🤘
@@ChaseMaddox That's good to know as well and thanks for clarifying! It's crazy to hear someone from the metal speed picking community do 300bpm of 4 pick strokes to a click. It's rare, but I do come across them sometimes. In the bluegrass community it is usually measured as I described and 150bpm is considered "getting up there" in terms of speed, but many virtuoso bluegrass pickers might clock somewhere closer to what would be 340-360bpm in your metronome setup or 170-180bpm in mine. Troy Grady has gotten into bluegrass lately so wondering if you might have seen any of that. Cheers!
So they say playing slow is more soulful. That's probably over-hyped. There's a need for speed!
Depends on the context! But if you can’t play fast when it would be appropriate, that’s a problem 🤘
I don't see a PDF
It’s in the description of the video. Here’s the link: www.jazzmemes.org/i-couldnt-play-fast-until-i-learned-this
I know George uses the rest stroke, I’m wondering how that comes into play with your exercises? Thanks
Usually when the line is ascending and you go from one string to the next, you’ll have consecutive down strokes that create a rest stroke.
Troy Grady is the gospel truth. Bring back articulation in jazz guitar!!
Haha he sure is! I’m with you 🤘
this really looks like something that I can take some time with, see it through and reap some results. Thanks for posting.
Try it out, would love to hear how it goes for you 🤘
Do you always play with the shoulder of the pick rather than the point? (Not crucial, I'm just curious about that.) Good lesson! Hope I get the same result! ;o)
I have for the last few years or so. I found I liked the tone and feel I was getting from the pick more that way, but it's very much a personal thing and wouldn't affect the mechanics of the picking discussed here much.
@@ChaseMaddox I have tried that way before. I like the tone too. Also, the pick seems to "turn around" less when I hold it that way. But NOW I realize I may have been using inefficient mechanics and THAT was the problem, not my pick grip itself. Live and learn. ;o)
I just took some shrooms and you are kinda leaning your head out of the video frame and back in it's kinda funny!
I’m sure a lot of things are funny on shrooms 😆
I'm trying to figure out how to play fast fingerstyle. I've seen classical players do a tremolo thing with all four fingers. I might try that out
Give it a go!
Nice work. It's really helpful to have real, melodic lines for this kind of practice. I'm working my way through a lot of this, so great timing. By the way, the rock/shred folks refer to quarter note bpm for 16th notes (e.g. 150bpm is 10 notes per second), and apparently the jazz folks refer to quarter note bpm for 8th notes (300bpm is 10 notes per second). Could you expand more on your comment that 'we don't' use the same pick stroke on upstrokes on adjacent strings 'in this style'? Economy picking would seem to be a simpler approach than inside alternate picking as in the descending portion of example 4? At 10:11 you pretty much have to rotate to an upward pick slant anyway to avoid being buried between strings 3 and 2 after the B note (start of bar 2, Ex.4). Seems like it's a tradeoff worth exploring, as time is lost in the wrist rotation anyway. Thanks
Thank you for your comment! I’ll explore some of the things you bring up 🤘
My question is does it matter if I start with an up stroke on pattern 1??? It seems more economical.
In many cases when the line ascends you can start with either an up or downstroke 👍
Awesome - also worth looking at Al DiMeola and McLaughlin picking technique may help some folks.
Absolutely! Thanks for the comment!
So, would it be fair to sum up this video by saying the two tips for faster playing would be, 1) downward pick slanting, and 2) closely scrutinizing the up/down sequence of the lines you’re playing and sticking to that formula?
Yes I think those are the main two takeaways. I’d just add that there are some exception where this picking is not used, like doing consecutive up sweeps on a maj7 arpeggio.
@@ChaseMaddox Great vid, and I think you’ve given a lot of food for thought. I’ve tried the down slant picking, with limited success; I’ve been pretty much a “perpendicular picker” my whole life…but then again, so is JMcL and Pat Martino, to name a few. Benson, def a down slanter. But as far as the other part about the up/down alternation, it seems to me, one would need to work out and practice these kinds of things endlessly, in addition to using it with every other kind of scale or arpeggio one could imagine-not just the pentatonics in your vid. I can understand how this might improve efficiency of speed, but the amount of practice needed for such a thing is enormous; at least to try to “cover all bases,” which is what I think you might be after. And that is almost completely impractical, because when you hit the “stand” all that stuff goes right out the window in favor of playing something that either makes sense or fits in with the rest of what’s going on. I believe this to be a great discipline, but, as I say, in the context of real playing, and being on the spot, it seems to me limited. One would need to have this stuff SO intellectually “locked in,” that the actually thought process is automatic. hope I’m explaining that clearly enough….but all your vids bring up really interesting ideas to ponder…very intriguing….
Really choke up on that pick don't let a lot of it show out of the end of your finger and thumb. Then there is nothing to get trapped between the strings. Learn efficiency picking simply use whatever pick stroke you need not just down up down up etc... . You might pick up up down up for that line. Single notes sound the same up picked down picked or alternate picked. The way the chords sound matter which direction they are picked not single notes.
In the second camera angle I'm showing more pick than I normally would play with so people can see how the pick angle is changing.
@@ChaseMaddox yes but you said and showed the pick gets stuck between strings affecting speed. Hence the getting back into the down stroke position. Not the way I hold my pick it's nowhere near the strings to little of the pick shows at any given time. It was less a comment for you and more for people that believe silly things. Here is an example some people think a down stroked low open E sounds better than an upstroked low open E. They don't it's the same note I've been told if you don't down pick every note in any metallica song it's not as punchy and tight. Wrong again they just are not playing in time with the beat. Sure if you up stroke the power chords in Master of Pupoets something sounds off. The E pedal going on through most of the song it's one note doesn't matter which way you pick it it's an E note.
and your pick if I may abuse your time? Thank you very much
Fender Heavy 👍
This video (George Benson Picking Part 1 Angle Rest & Anchor th-cam.com/video/KqSigkwNnck/w-d-xo.html) demonstrates the backward picking, this produces the best sound for Jazz; I'm almost certain Martino, Frisell, Jim Hall, Metheny etc play this way even though their hands look a little different as they each have their way of holding the pick. Benson's is the most exaggerated. At the start of your video you demonstrate more of a traditional 'pick slant' like the shred guys, is that correct?
Since watching this video I have been playing through the Barry Harris descending half-step rules incorporating a mix of the two - the backward picking with the 'end on an upstroke rule'. This seems to be the best of both, and may as well just be called 'Benson picking' which I take to mean economy picking but with the 'backwards' pick angle for the warmer tone, which you personally compensate for by using the round/larger end of the pick.
What I'm asking is that you try the techniques in this video but with the backward picking rather than the shred pick angle that you use. I was thrown by you calling this 'Benson picking' because that incorporates the backward picking rather than pick angling ala Troy Grady. Apologies if this is autistic but I want to be specific.
Thanks again for your comment. I think it adds a lot to the discussion and hopefully others will check these other options out too. I’d say you’re correct that I’m using more of the traditional pick slant and not as much backwards picking. I tried it out for a bit today, and the only way I could get it to flow is switching to using the pointed end of the pick instead of the rounded edge like I’m used to now. I also think you’re right that the usual downside of not backwards picking would be a thinner tone, but I don’t find I’m having that issue since I use the rounded pick edge.
@@ChaseMaddox Ok interesting, so downward pick slanting but with the round edge to compensate for the thinner sound. Glad you made this video as it's good to rehash and reevaluate these things.
Also, try out a Pro-Plec 351 D'Andrea 1.5mm pick if you can, they are like no pick I've used before, totally different tone, incredibly warm. Jonathan Kreisberg uses them and I'm convinced it's one of the key elements of his tone. It's because of these that I don't do the 'round end of a big pick'. I've tried and often compare them and the Pro Plec wins out everytime in tone.
@@morkus26 Thanks for the good discussion! I’ll check out the pick you suggest 👌
Awesome, thanks for spending time and resources to help other guitar players.
Thanks Tony, I appreciate your comment! 🙏
Subscribed. I love jazz players on youtube! You can also use upward pick slanting. Really the 2 are both equally useful. (given that you probably also don't want the string attack to be parallel, but closer to 45 degrees.) The direction of the pick slant should change depending on how you want to cross to the next string. For instance, you can have upward pick slanting (the top of the pick slanted upward), end on a down stroke, and move to any thinner (presumably nearby) string - since this is the direction (down) that you're already moving it becomes quick and effortless, and your slant is helping you escape. Or you can have downward pick slanting and end on an upstroke, and move to any fatter string (or stay on the same string). 2 way pick slanting is a real challenge. The trick is gaining control of both slanting directions so that you don't need to think about it. The one way pick slant is like the training wheels to get used to the patterns formed with that slant. But, if you have downward pick slanting and end on an upstroke, and try to move to a skinnier string, the direction of movement of the pick at that moment is opposite of the string you want, so this is kind of equally slowing to one's speed, as having to fight with being trapped by a string (having to quickly adjust the wrist to somehow hop over the string in a non-routine way). I found I needed to slant for ESCAPE, but also to slant in order to OPTIMIZE DIRECTION to be conducive to speed when changing strings. This can result in a very slight pick slant, to optimize for both needs. (When the slant is conducive to direction to the next string, there's less distance to hop since the pendulum is closer to the target string one is changing to). The ideal is to use pick slanting for both these problems. In the case of helping with direction, with the top of the pick slanted downward, one is closer to the next thinner string. With the top of the pick slanted upward, one is closer to the next lower string. (Just my 2 cents of trying to work this out according to how my own natural evolution was from upward slanter to 2-way slanter). For example, a really difficult line to play quickly is to start on the A string, play 2 notes beginning with a down stroke, and cross to the D string and play 2 more notes, etc. In this pattern there is an upstroke just before crossing to the D string. (Opposite to the direction of the D string). You'll find that if you change to a downward pick slant at the moment of that upstroke, while at the same time using that changing slant of the fingers/wrist to bring your hand over the D string, then this should be better than starting with the downward pick slant. In other words start with a roughly unslanted pick, and the slant change before the D string works in your favor and becomes part of the movement to the D string. A good exercise is actually to play that 2 note per string riff, but periodically drop one note to change the picking pattern. The goal is to change the slant appropriately. Down up going to thinner strings is best played with the first note on the string relatively less slanted, and the 2nd note downward slanted at the last moment to help towards bringing the hand over the next string. (both an escape and a slanting motion bringing one to the next thinner string.) Conversely, doing a 2-note per string pattern going from fatter to skinnier strings, starting on an upstroke, will be easy for the upward pick slanter (like me). Because the direction of motion of each pick upon the string changes is in the direction of the string change, this optimizes for pick escape, and doesn't require the optimization for direction. But if you are coming back from thinner to thicker strings, and haven't skipped any notes, (still up-down up-down per each string, then crossing to a fatter string) now if you keep the upward pick slant you BOTH bury yourself between the last and next string, AND your picking direction is contrary to the direction of the next string. And if you change to full on downward pick slanting you're able to correctly escape, but if you slant to suddenly your wrist is moving contrary to the direction of the next string. So the best way is to learn to sense both aspects, and not get carried away with over slanting, but rather to use the right amount of very slight changes in slant and wrist motion to optimize for both escape and momentum/direction.
Thank you for the thoughtful comment! 🤘
@@ChaseMaddox I started out innocently but got way too deep there - but thank you for excusing my indulgence. I hope your channel grows quickly and you get to work on a lot of content you enjoy.
@@jesussaddle 🙏🙏
Come on dude, that’s not 300, that’s 150...
300bpm is how a gigging jazz musician would call this tempo. I’m not counting it like speed pickers or bluegrass players do.
anybody here has this BT ou something to use ... thanks teaher
What are you asking about?
This video couldn’t have come at a more opportune time! I’ve been getting into the band Yes and Steve Howe’s playing has me relistening to Django Reinhardt, Charlie Christian, Barney Kessel, and so many other jazz guitar legends. Can’t wait to see how this improves my playing after like 15 years of being stuck in a blues, rock and, folk guitar mindset!
Awesome! I’m excited for you to start on this jazz guitar journey 🤘
All great players