Было бы интересно почитать)) В переводе особенно)
А почитай, только переводить и забивать мне в лом, кому очень интересно, тот может сам взять в руки словарик и неспеша перевести:
SPEEDWhen students watch me play, they sometimes remark, 'I wish I could play that many notes, but my fingers will never be able to move as fast as that!' Of course, seeing how many notes you can cram into a bar isn't exactly the most musical of goals, but it has its plays. Everyone occasionally wants to play something that their technique can't quite handle and assumes that it's because their fingers can't move quickly enough.
In fact, a fast technical player isn't moving his fingers any quicker than anyone else's: he's just moving them less. The process of practicing a lick over and over again first teaches your hands which movements to make, then ensures that they're happening in the right order and finally focuses on streamlining each movement in the quest for great efficiency. If you've been working on a new lick or technique and you've got to the point at which you can do it successfully most of the time but it still doesn't quite feel natural, the chances are that your hands are doing the the right things but are also throwing in a few unnecessary movements.
To see what I mean, try to locate some video footage of a player with a famously good technique - someone like Frank Gambale, perhaps - and watch how their hands are moving. You'll notice that the fingers on their fretting hand are constantly poised just above the strings so that, whenever they're expected to fret a note, they can do so without having to move their fingers more than a few millimeters. This obviously uses up fewer calories than a less efficient fretting-hand position, and it's also more immediate. There will always be a slight gap between the moment your brain tells your fingers to play a note and the moment the note actually comes out of your amp. If you can keep the required movement to a minimum, you'll also be keeping this delay to a minimum, and your reward will be cleaner technique and more accurate timing.
Similar principles apply to your picking hand. A good, fast alternate picking hand isn't moving any faster than a poor, sloppy-sounding one, but it
is moving shorter distances and changing the direction of its movement more times per second. Once again, your hand's goal shoul be to reduce and refine each part of the picking motion until every millimetre of its actual movement plays an active part in the production of notes. Anything surplus to this is a waste of time and energy.
If you try out this approach for yourself, analyse the way in which you pick and fret notes and then prune away any excess movement, you might well find the end result somewhat lacking in volume or conviction. Perhaps it's harder to get a big-sounding note than it was when you played it the less efficient way. You should think of this as a temporary setback; the more times your hands go through the motions of playing an 'efficient' note, the more confident they become, and soon you'll find that you can channel the same amount of energy into a smaller arc of movement.
Think of Bruce Lee's famous 'one-inch punch'. The guy could knock you across the room without moving his hand more than a couple of centimetres. I'm not a huge advocate of hitting people, but this at least represents a good example of someone directing a lot of energy into an almost imperceptibly small and, therefore, very fast movement. What I'm suggesting is that the same basic principle works on a musical instrument, and the results are a lot more plesant. If you master this principle on guitar, people will come to see you play and may be even give you some money. If you master it in Bruce Lee's field, people are far more likely to run away.
Incidentally, I once read some more detailed parallels between kung fu and guitar playing in an interview with Buckethead. This eccentric player, who has the stage persona of a demented robot with and elastic guitar strap, at one point played for Guns N' Roses, but in strict guitar circles he's probably best known for his absurdly fast, pefectly executed chromatic licks, which bear more resemblance to mobile ringtones or vintage computer-game sound effects than they do to regular guitar playing. He's also a keen martial artist and claims that mastering certain kung fu concepts helped him to locate the weak points in his guitar-playing technique and remedy them efficiently.
I don't propose to dwell on this whole martials arts thing for very long, because I don't know that much about it, but I will tell you that I once shared a flat with a keen practitioner of ninjitsu, and he told me, that one of the key concepts in this particulary nasty art form is that you should 'forget to remember, remember to forget'. Now, this sounds something like the title of a confusing Bond film, I have to admit, but I think that the point he was trying to make was that whatever you've learned becomes trully useful to you only once it has become second nature. You can enjoy the full benefits of having an efficient picking-hand position, for instance, only when you've been doing it long enough to adopt said position automatically - by default, if you like. If you find that your hands lapses into into old habits as soon as you turn your attention away from it for a moment, you still heaven't fully assimilated the correct technique into the way you play and you should keep working on it until you reach a point at which it's complitely instinctive. The sooner you learn the right way of doing something, the sooner you won't have to think about it any more.
One way of telling if you're on the right track is by asking yourself how effortless your playing feels. I think sometimes you have to force yourself to relax when playing, especially if you're working on something particularly challenging or unfamiliar. I've seen students go red in the face and literally break into sweat after as little as ten seconds of trying to play something that involves strict alternate picking. This happens because they're keen to get the technique right, and they're telling themselves that what they're attempting is difficult - so difficult, in fact, that they're probably going to get wrong. Consequently, they get so about messing up that they can't concentrate on the actual playing side of things.
Sometimes it helps to remind yourself that everything is possible, given time, and that practice is not all about punishing yourself. There's nothing quite as counter-productive as geting angry with yourself when a lick keeps going wrong - this can only serve to distract you. It's much better to take a break from it and then, when you come back to the guitar, keep playing the lick - or small portions of the lick - at a speed you can manage comfortably. There's no rush; in the long run, it's better for you to get the basic down properly at a slow speed so that you can be sure you're practicing the right things. The rest comes with time.
My favorite adage on the subject would have to be this gem:
Speed is a by-product of accuracy
That says all, really. If you practice an accurate, efficient technique, you'll soon find that fast passages don't seem so daunting. I know everyone's encountered this kind of advice before, but so many of us just don't want to hear it; it has the same irritating benevolence about it as maternal naggings like ' You really shouldn't do that - you know it's bad for you' and 'Are you
sure you're eating properly?'. However, it really
is true, and it really
does apply to you. Take things at a sensible pace, and don't lie to yourself about how quickly you're improving by forcing up the metronome speed before you ready.
- Guthrie Govan, from his book 'Creative Guitar I: Cutting-Edge Techniques', pages 42-43.
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