Форум гитаристов

Вот пару полезных  статей от Tom Hess по поводу скорости (по моему на этом форуме их ещё не было):

How To Practice for Maximum Speed

by Tom Hess

The scope of this subject is too broad to be fully covered in a single article. After receiving hundreds of requests for advice on this subject of developing speed, it seems an article is long overdue on the topic. Training advanced players to become virtuosos is a very rewarding and fun process for me. (as I'm sure it is for most teachers who teach highly advanced students).

A Typical question from a student: What specific strategy should I employ to approach better speed development?

Although my answer varies from person to person, depending on what I know about that person's current abilities and goals (among other things), I generally recommend some variation of the following strategy:

Stage 1: When first learning a new technique, determine (using a metronome of course) your maximum speed you can play cleanly. Write this speed down on paper in a practice log.

Stage 2: Practice at 20%-35% of your maximum speed. Do this for 5 consecutive practice sessions. Resist the temptation to go faster during this stage. Make sure everything is still very clean. There must be NO excessive tension anywhere in your arms, hands, wrists, shoulders, neck, head or anywhere else. Watch to make sure you have no excessive or unnecessary movements in either hand. For some guitarists, this first step is very boring. You MUST remain patient with yourself, and the process, during this time. This is absolutely critical! If you skip this step, you will probably train your hands to play incorrectly, inefficiently and ineffectively. At this stage you are developing the proper muscle memory for this technique. If you are currently studying with a great guitar teacher, your progress will be much faster, easier and better than if you attempt to do this on your own. Once you have mastered stage two, you may move on to stage three, but not before! Above I said you should practice this stage for 5 consecutive practice sessions. That is only a general guideline, after the 5th session, re-evaluate your progress. If you have not mastered this step, continue practising at 20%-35% before moving on to stage 3.

Stage 3: Practice at 50% of your maximum speed. Do this for 3 consecutive practice sessions. Again, make sure everything remains very clean. Play relaxed without tension anywhere in your arms, hands, wrists, shoulders, neck, etc. Watch to make sure you have no excessive or unnecessary movements in either hand. Do not move on until this step is mastered (it could take longer than 3 sessions, but do NOT move on to stage 4 before practising for 3 sessions.

Stage 4: Practice at 60-65% of your maximum speed. Do this for 3 consecutive practice sessions. Again, with total relaxation and economy of motion (no unnecessary movements).

Stage 5: Practice at 80% of your maximum speed. Do this for 5 consecutive practice sessions.

Stage 6: Practice at 85% of your maximum speed for the next (1) practice session only.

Stage 7: Practice at 90% of your maximum speed for the next 10 practice sessions.

Stage 8: DRILL IT! TOTALLY RIPPIN (translation play at 100%) FOR an entire week!

Stage 9: After that week evaluate where your new maximum speed is (it will be higher than when you first measured it in stage 1).

Stage 10: In this stage you will rotate every 3 practice sessions like this: Session 1 = 60%. Session 2 = 85%. Session 3 = 95%. At the end of each practice session DRILL IT (100%) for a few minutes.

Once a week, measure your new maximum speed, and adjust your metronome speeds accordingly.

Warning: NEVER play/practice your guitar in pain. Serious injuries can occur. This is not a joke, I know people personally that have had to have surgeries on their wrists and arms!



Please be sure to read Part 1 before attempting to follow the advice offered here in Part 2. I am offering a completely different approach to building great speed compared to what I described in part 1, but this new system does not work well unless you have mastered the ability to play cleanly and accurately at slow tempos (this is critical).

Unlike the first system described in part 1, which takes several weeks to complete, this new approach can be done in a single practice session. This new approach is not intended as a substitute for my other method, it is rather a supplemental practice tool intended for more advanced players.

“My Ladder System”

Let’s say you can play a particular technique at 100 bpm (beats per minute) on a metronome cleanly and consistently. Let’s also assume that your goal is to play the same technique at 200 bpm.

Warm up for: 15 minutes in the winter months
10 minutes in the spring and autumn months
5 minutes in the summer months

Play at 60 bpm for 2-3 minutes
Play at 90 bpm for 2-3 minutes
Play at 75 bpm for 2-3 minutes
Play at 105 bpm for 2-3 minutes
Play at 90 bpm for 2-3 minutes
Play at 120 bpm for 2-3 minutes
Play at 105 bpm for 2-3 minutes
Play at 135 bpm for 2-3 minutes
Play at 120 bpm for 2-3 minutes
Play at 150 bpm for 2-3 minutes
Play at 135 bpm for 2-3 minutes
Play at 165 bpm for 2-3 minutes
Play at 150 bpm for 2-3 minutes
Play at 180 bpm for 2-3 minutes
Play at 165 bpm for 2-3 minutes
Play at 195 bpm for 2-3 minutes
Play at 180 bpm for 2-3 minutes
Play at 210 bpm for 2-3 minutes

As you can imagine, the beginning of this routine will be easy if you can already play this without problems at 100 bpm. But it will be totally impossible to play well during the latter part of the routine. Play it anyway! Yes I know it will sound horrible, it will be a huge mess of sloppy musical chaos. Don’t worry about that when doing this routine, because you are not going to practice this way every day.

The ladder system is designed to do two main things:

1. (most important!) It will train your brain that greater speed is possible (even if sloppy for now) for you. To go far beyond what you think you can do well today is important as a psychological tool. You see, speed (like many aspects of music) has more to do with self – imposed psychological limitations than physical ones.

2. It gets your hands to move faster than they ever do in normal practicing (even though the motions are sloppy and not something you will put into a recording of your next solo),

Most speed barriers come as a result of synchronisation problems between the two hands – lack of speed is usually not caused directly from how fast you are able to move your hands. BUT because the main cause is synchronisation issue between the hands, your practising becomes limited to synchronisation practice and not on sheer speed (even if you are totally aware of it). Your increased synchronisation skills will improve your overall technique, but you will have not really trained your hands to move much faster than before.…..This system does. I’m sorry to have to keep repeating the point, but it is so important ‡ This system is a supplemental one and not a substitute for normal practising.

A word of caution: Because this practice system is extremely demanding on your fingers, hands, wrists and arms, you must be very careful to avoid pain. If you feel any pain when doing this technique, you must stop at once and rest before attempting this again. Never play in pain, or excessive stress on your muscles or joints. Doing so can cause you serious long-term physical problems. Also, make sure you are thoroughly warmed up before practicing anything strenuous (especially when attempting any ladder systems!).

Это алгоритм тренировки для победы на конкурсе роботов-гитаристов...

забей на скорость.... играй в удовольствие, не обязательно играть быстро чтобы играть круто...

Для кого как. А что если в голове играет быстрая музыка и рвётся наружу?.....хотя в таком случае вопрос бы здесь не возник, решение проблемы пришло бы само собой

забей на скорость.... играй в удовольствие, не обязательно играть быстро чтобы играть круто...

тоже в принципе правильно музыка - прежде всего исскауство, а не спорт, но я последние 2 года играю тока медленно, хочеться научиться и пошредить))))))

а имхо забивать на скорость нильзя, она нужна,пусть не 300 пш гонять,я вот написал вещь,а сыграть как хочется не под силу из-за чертовой смены постановки рук(((( никак не верну себе скорость... знаю сам виноват ленивый но все же.

развивать пш больше 135-140 в падавляющем большинстве случаем не нужно, но мы ведь прекрасно знаем что при желании можем использовать легато... это моё имхо...

Можно и так, только звучание будет сильно отличаться. ПШ необходим не для того, чтобы было круто и технично. Это одно из средств выразительности, наряду с глушением струн, которое может быть очень плотным, чтобы добиться хорошей дифференцированности нот, а можно струны приглушать лишь слегка, убирая только грязь и позволяя нотам сливаться друг с другом... Дело не в скорости, а, как сказал светлой памяти Джордж Харрисон, "It's all in our head". Перевод (точнее вольная интерпритация) здесь:

А что если в голове играет быстрая музыка и рвётся наружу?.....

А у меня кстати возник вопрос в этом плане,
между хроматических гамм лучше перерывы делать? а то я обычно играю около полу часа без остановки,патом перерыв в минуты две и дальше. перерыв елаю так как силы кончаются =-)