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?
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.
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.
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’m 65 and am a fairly proficient guitarist, but speedy picking like what you are doing has always eluded me and it’s not for lack of trying. I will try this and let you know if it makes a difference. Thanks for the inspiration!
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 😅
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.
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 🤘
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 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 😅
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.
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
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 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!
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...
I'm 48, learned how to play about 2 years ago. Started playing scales about 4 months ago. Once warmed up I can max out my metronome at 300bpm doing pentatonic and major scales. It's hard, I warm up with 200 bpm, I can play fairly comfortable at about 280bpm. Do your scales with a metronome for 1/2 - 1 hour per day. Guaranteed results in a few months. That picking is amazing, and past my pay grade. I can play straight on the beats only going that fast. Awesome video I need to try this.
Awesome! Great work 🤘 A few differences between scales and lines, with the main one being that lines have inconsistent interval jumps that can complicate your picking hand technique.
@@ChaseMaddox coolest thing is that I started off strumming basic rock songs, learned how to pick and strum old western songs, did a little blues grass, learned the scales, learned the 12 bar blues with basic lead, then I discovered jazz chords, never even listened to jazz before, then I heard some beautiful jazz chords, and had to learn some, jazz is much trickier. Still want to learn old slide blues. These videos really help.
Wow, this is amazing, to hear and see, i still would like to know, if you are able, to apply this aproach easily to other situations imediately, without having to practice the special situation for a special group of notes?
Thanks for watching! This is the most common concern, but once you get the feel for the approach you don't have to think about when improvising or practice special situations. If anything, knowing this method has helped me understand when I'm playing an idea in a way that's making it difficult to play fast.
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.
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.
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.
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😎
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.
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?
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 🤘
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.
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! 👍
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!
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! 🤘
What if you just alternate pick up and down regardless? I've been doing this for so long during my scale practicing up and down the entire frett board that I don't even think about it. My hand just goes up down, up down, up down. I'm getting progressively faster! but I practice 6 hours a day.
That's so cool, I was kind of discovering this technique "naturally" these last few days!...just starting out using a pick because I am mostly an acoustic guitar fingerstyle player!!...
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.
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.
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 is great for teaching your up/down picking pattern, which is actually very much like the old "rest stroke" in classical guitar picking. But the hard part for me is getting my left hand to finger anywhere near as fast as my right hand can pick. What can I do for that problem? Thanks! And keep up the great videos!!
I've learned Gypsy style picking recently, although I can probably pick faster alternating still as yet, this video is a little bit like the hybrid Gypsy style (with pull offs etc) and it helps put accents in the right places because of the downward rest-stroke. Most traditional Gypsy players on string changes usually start on a downstroke, even on descending arpeggios that go top to bottom across single notes on strings. That's difficult to get right. The rest stroke itself kinda forces you to think economically, and the upstroke is really only more like a quick lifting motion to get to the next downstroke, where the string just happens to get in the way. This puts strong accents for the most part on alternating scale tones (usually 1,3,5,7 etc.) and helps with the swing feeling too. If you play 4 notes on a string with eg. a scale ascending starting on a downstroke, you finish on an upstroke, and have to skip the string you just played. This is just like alternate picking. Descending it works the other way without skipping, just raising your hand and lifting up on the string change, more like a sweep but without altering the pick angle. The Gypsy style (economy) is fastest with 3 notes per string ascending - 'double downs' alternating down, up, down - down, up down - down, up down etc. If like a bop player you fill chromatically to make the chord tones land on the down beats - then triplet like picking patterns kind of emerge on their own if you stick to the rules. Eg. add Ab to C major (harmonic) with 8th notes to land back on C. Modally, this is basically a D dorian blues scale, but the other modes are interesting too, especially the phrygian (now dominant), mixolydian (with a b9) and lydian (major or minor).
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.
Hi Chase. Great video. I am thinking about getting your "28 Days to FAST Jazz Lines" Book. Is this the sort of material you cover there : Major ii-V-I lines, with modal ideas, etc? Thanks.
Almost all of the lines are applied on a ii-V-I or would be part of a ii-V-I progression. The focus is not on building ii-V-I vocabulary however, but on building various guitar techniques that allow you to play different kinds of 'fast' lines.
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.
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!
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.
Jazz Memes Thank you for not stressing with me with using a metronome with these lessons. I do, however, use the metronome at slow bpm, say between 72-80 bpm. I know the benefits of using a metronome, but I spend of my time learning standards, as I am a older player and chose to use most my time learning standards. While I may not use the metronome as much as I should, I do tend to count as I play a line, i.e, 1 and 2 and, etc. So what your take on using the metronome?
There’s a lot I could say about using a metronome and I’m mostly positive about using one. I think it is very helpful in developing your time feel and some of the best musicians I know practice with a metronome.
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
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 🤘
@@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.
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?
I'd say because in both directions it minimizes the distance traveled by your pick and the next string or note you're playing. When playing a descending line, the final up pick gets your pick closest to the next string you'll play (since we usually play from one string to the next consecutive one). And then on the ascending side, the fastest way is the down-down sweep motion. Either way by minimizing the distance traveled you can also minimize the time needed to play your next note. Great question!
@@ChaseMaddox Ahh, I see. Less about the pick-angle itself, perhaps, than the picking pattern this angle encourages. Very interesting, and very helpful. I’ve long wondered this. Thank you so much. Keep up the great work!
Good educational video, but, I wish you had shared the chords you were playing in your video as well/ the PDF’s are good/ but learning those riffs would be even better/ Be Well and Thank You
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.
Very cool approach! Thanks! Subbed! Unfortunately, my weakest link is my left (fretting) hand. I criminally neglected legato playing for years, when I first started playing.
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’d like to do guitar vids myself but I’m not sure how to get my camera to catch my full set from the size of my room. Could you enlighten me on your focal length, aperture, and iso settings?
A lot of factors go into it for my setup, so I can definitely make a video soon where I can go into my full setup for these videos and my general gear 👍
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.
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
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! 😁
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.
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!
I have been trying to learn this for a while. Everyone on RUclips talks about it but never teaches it in depth, thank you
Thank you for your comment! That’s exactly what I was hoping to accomplish in this video 🤘
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 🤘
Very interesting and useful information. Thank you for this video!
I’m 65 and am a fairly proficient guitarist, but speedy picking like what you are doing has always eluded me and it’s not for lack of trying. I will try this and let you know if it makes a difference. Thanks for the inspiration!
I hope so! Please let me know how it goes for you 🤘
let me know too please!
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 😅
Appropriate right hand movement is the key to speed, which I ignored before. I am speeding up my picking after watching this video. Thanks!
Love to hear it! 🤘
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.
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 🤘
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 👍
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 🤘
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.
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!!
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! 🤘
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 👍
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!
Thx Chase, very useful practical explanation of how to use the material Troy's team presents.
I own the same guitar. It’s one of my lowest cost guitars and I love it!
It’s amazing! Haven’t felt the need to change it ever for my jazz playing.
What is the model?
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...
Awesome, thanks for spending time and resources to help other guitar players.
Thanks Tony, I appreciate your comment! 🙏
I'm 48, learned how to play about 2 years ago. Started playing scales about 4 months ago. Once warmed up I can max out my metronome at 300bpm doing pentatonic and major scales. It's hard, I warm up with 200 bpm, I can play fairly comfortable at about 280bpm.
Do your scales with a metronome for 1/2 - 1 hour per day. Guaranteed results in a few months. That picking is amazing, and past my pay grade. I can play straight on the beats only going that fast. Awesome video I need to try this.
Awesome! Great work 🤘 A few differences between scales and lines, with the main one being that lines have inconsistent interval jumps that can complicate your picking hand technique.
@@ChaseMaddox coolest thing is that I started off strumming basic rock songs, learned how to pick and strum old western songs, did a little blues grass, learned the scales, learned the 12 bar blues with basic lead, then I discovered jazz chords, never even listened to jazz before, then I heard some beautiful jazz chords, and had to learn some, jazz is much trickier. Still want to learn old slide blues. These videos really help.
@@W1LLOW896 great work! Glad to help! 🤘
Wow, this is amazing, to hear and see, i still would like to know, if you are able, to apply this aproach easily to other situations imediately, without having to practice the special situation for a special group of notes?
Thanks for watching! This is the most common concern, but once you get the feel for the approach you don't have to think about when improvising or practice special situations. If anything, knowing this method has helped me understand when I'm playing an idea in a way that's making it difficult to play fast.
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.
i love your book selection in the background !
Thanks Ed! 🤘
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.
Awesome - also worth looking at Al DiMeola and McLaughlin picking technique may help some folks.
Absolutely! Thanks for the comment!
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 🤘
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.
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.
I’m moving countries and I’ll have time to finally learn guitar…and of course that’s Jazz. You’re a total inspiration to guys like me, so many thanks!
Really appreciate the comment Luke! Best of luck on your jazz journey and feel free to comment or email me if you have any music related questions 🤘
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.
Speed kills and you’re killing it
🤘🤘
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?
I only had to see about 30 seconds of this video before I hit Subscribe. Amazing Talent ! 🎸🎸🎸
Thank you! I appreciate the support 🙏
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 🤘
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.
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! 👍
You are a godlike teacher. So much thanks
Wow, thanks! I appreciate you checking out the video.
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.
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! 🙏
Damn Mr. Chase Maddox! Making have to get my guitar out to practice at 10pm. 🤘🏻🎸💪🏻
Haha thanks for checking out the video Fritz! 🤘
Thanks for this.
You’re welcome! 🙏
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! 🤘
What if you just alternate pick up and down regardless? I've been doing this for so long during my scale practicing up and down the entire frett board that I don't even think about it. My hand just goes up down, up down, up down. I'm getting progressively faster! but I practice 6 hours a day.
Great explanation and exercise
Thanks Chris! 🤘
That's so cool, I was kind of discovering this technique "naturally" these last few days!...just starting out using a pick because I am mostly an acoustic guitar fingerstyle player!!...
Cool! Best of luck to you! 🤘
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! 🤘
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.
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 🙏🙏
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 🤘
Great lesson. thanks!
Thanks for watching! 👍
This video is great for teaching your up/down picking pattern, which is actually very much like the old "rest stroke" in classical guitar picking. But the hard part for me is getting my left hand to finger anywhere near as fast as my right hand can pick. What can I do for that problem? Thanks! And keep up the great videos!!
Great video ... thanks for the lesson!
Thank you! 🙏
Great Lesson
May I know what guitar are you using
The red finish looks really nice
Thank you! It's an Ibanez AG86
Awesome video brother 🙌
thank you my dude!!
Glad you found it helpful! 🤘
Very informative and inspiring. Now, let me get to work:) with the first technique.
Thanks! Let me know if you have questions 👍
I've learned Gypsy style picking recently, although I can probably pick faster alternating still as yet, this video is a little bit like the hybrid Gypsy style (with pull offs etc) and it helps put accents in the right places because of the downward rest-stroke. Most traditional Gypsy players on string changes usually start on a downstroke, even on descending arpeggios that go top to bottom across single notes on strings. That's difficult to get right. The rest stroke itself kinda forces you to think economically, and the upstroke is really only more like a quick lifting motion to get to the next downstroke, where the string just happens to get in the way. This puts strong accents for the most part on alternating scale tones (usually 1,3,5,7 etc.) and helps with the swing feeling too. If you play 4 notes on a string with eg. a scale ascending starting on a downstroke, you finish on an upstroke, and have to skip the string you just played. This is just like alternate picking. Descending it works the other way without skipping, just raising your hand and lifting up on the string change, more like a sweep but without altering the pick angle. The Gypsy style (economy) is fastest with 3 notes per string ascending - 'double downs' alternating down, up, down - down, up down - down, up down etc. If like a bop player you fill chromatically to make the chord tones land on the down beats - then triplet like picking patterns kind of emerge on their own if you stick to the rules. Eg. add Ab to C major (harmonic) with 8th notes to land back on C. Modally, this is basically a D dorian blues scale, but the other modes are interesting too, especially the phrygian (now dominant), mixolydian (with a b9) and lydian (major or minor).
Thanks for watching and your thoughtful comment!
This dovetails well with things I’ve tried learning George Benson picking.
Great! The lines are very Benson inspired 👌
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.
Intro lines sounded great !
Thanks boss! 🤘
Hi Chase. Great video. I am thinking about getting your "28 Days to FAST Jazz Lines" Book. Is this the sort of material you cover there : Major ii-V-I lines, with modal ideas, etc? Thanks.
Almost all of the lines are applied on a ii-V-I or would be part of a ii-V-I progression. The focus is not on building ii-V-I vocabulary however, but on building various guitar techniques that allow you to play different kinds of 'fast' lines.
@@ChaseMaddox Hi Chase! Thanks a million for your prompt response. Brilliant. If I subscribe to your Academy, do I get access to that book too?
If you subscribe to CGA you get access to that and a TON more! 👍
@@ChaseMaddox Thank you Chase! Just subscribed. Hopefully I'll be able to log in soon 😀
@@ChaseMaddox Wow! Amazing courses in the Academy 🎶🤗
Hey man that's a great lesson, this is the technique we use in Gypsy Jazz 👌
Very cool! Thanks 🙏
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.
Pretty Artcore? 😍 Cool vid. Thank you. 💚 🎸
Thank you! 🙏
Thanks for sharing this. Great lesson!
Thanks Robert! 🤘
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
Thanks!
You’re welcome! 🤘
Great lesson. Just subscribed.
Awesome, thank you! 🤘
Great Video, one question though. Does your hand always rest on the strings or are you holding it up above?
Thank you! I’d say generally the back part of my hand towards the wrist is lightly resting on the strings.
@@ChaseMaddox thanks very much, had much fun practicing this technique so far
Excellent 👏
Thank you! 🤘
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.
Thank you so much man, after 40 years of playing, now i know why i couldnt play faster.
Glad you found the video helpful! 🤘
Jazz Memes
Thank you for not stressing with me with using a metronome with these lessons. I do, however, use the metronome at slow bpm, say between 72-80 bpm. I know the benefits of using a metronome, but I spend of my time learning standards, as I am a older player and chose to use most my time learning standards. While I may not use the metronome as much as I should, I do tend to count as I play a line, i.e, 1 and 2 and, etc. So what your take on using the metronome?
There’s a lot I could say about using a metronome and I’m mostly positive about using one. I think it is very helpful in developing your time feel and some of the best musicians I know practice with a metronome.
Yes a metronome gives you a similar sense needed for jamming with drummer..getting skills for hearing both yourself and another of equal importance
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 👍
thank you. No need to have a jazz3 to play fast. great sound anyway. you play with the tip or the rounded side
I used to play with jazz3 picks but not for a long time, I use Fender Heavy on the rounded edge.
@@ChaseMaddox thank you very much 👍 👍
@@loumat62 you’re welcome! Happy to answer any question you have 🤘
and your pick if I may abuse your time? Thank you very much
Fender Heavy 👍
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 🤘
Which kind of pick do you use? Dunlop Jazz3?
Fender Heavy picks
This is awesome! Love that intro line 🔥
Thank you Caleb! 🤘🤘
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....
ruclips.net/video/3Xemo5FzFqs/видео.html
Awesome, thank you..
Glad you dig it! Thank you for watching! 🤘
I also do a "hammer-on save"!
🤘🤘
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 🤘
Thanks, man.
You’re welcome 🙏
I wonder how to play Technical Difficulties by Paul Gilbert using this approach?
Don’t know that one!
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.
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 👍
Terrific. Do you know *why* precisely this slanted pick-angle and escape technique seems to help with speed?
I'd say because in both directions it minimizes the distance traveled by your pick and the next string or note you're playing. When playing a descending line, the final up pick gets your pick closest to the next string you'll play (since we usually play from one string to the next consecutive one). And then on the ascending side, the fastest way is the down-down sweep motion. Either way by minimizing the distance traveled you can also minimize the time needed to play your next note. Great question!
@@ChaseMaddox Ahh, I see. Less about the pick-angle itself, perhaps, than the picking pattern this angle encourages. Very interesting, and very helpful. I’ve long wondered this. Thank you so much. Keep up the great work!
That’s my take at least! Thank you 🙏
Good educational video, but, I wish you had shared the chords you were playing in your video as well/ the PDF’s are good/ but learning those riffs would be even better/ Be Well and Thank You
Thanks Jim! Which chords and riffs are you talking about?
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! 🤘
Very cool approach! Thanks! Subbed! Unfortunately, my weakest link is my left (fretting) hand. I criminally neglected legato playing for years, when I first started playing.
Thank 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’d like to do guitar vids myself but I’m not sure how to get my camera to catch my full set from the size of my room. Could you enlighten me on your focal length, aperture, and iso settings?
A lot of factors go into it for my setup, so I can definitely make a video soon where I can go into my full setup for these videos and my general gear 👍
@@ChaseMaddox cool. Definitely will be on the look out 💪🏽💯
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?