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Speed and Accuracy for Lead Guitar

I'm making this transcript available for your convenience. Some students find the English language challenging. If so,
feel free to use online resources to translate this to your native language. If you create a transcript for this purpose we
would love for you to send us a copy to share with others. Please let us know. - Doug Marks

为了您的方便,我提供这份文字记录。有些学生认为英语具有挑战性。如果是这样,请随时使用在线资源将其
转换为您的母语。如果您为此目的创建一个成绩单,我们希望您能寄一份副本与他人分享。请告诉我们。- Doug
Marks。

This is a revision of one of my most popular guitar lessons ever. I've been creating guitar lessons since 1982 so when I
say ever, that's a long time. An interesting thing about this revision is, the original version was released only three
months ago. I've learned a lot from watching my students study this program and have continued working on it to include
additional exercises and recent observations.

这是有史以来我最受欢迎的吉他课之一。自1982年以来,我一直在创作吉他课,所以当我说有史以来,这是很
长的时间。这次修订的一个有趣的事情是,原始版本仅在三个月前发布。通过观看我的学生学习这个计划,我
学到了很多东西,并且继续努力,包括额外的练习和最近的观察。

A week after the course was released was New Year's Day. I thought, "People are already making resolutions, why not
resolve to become a better guitarist this year?" I put together a 30 day contest called "The Metal Method Speed and
Accuracy Challenge." The guitarist that improved the most by practicing these exercises for a month would win a guitar.
Over 200 people entered the Challenge and more than 40 actually completed it. Congratulations to our winner, Paul
Wolfe!

课程发布一周后是元旦。我想,“人们已经在做决议了,为什么不决定今年成为更好的吉他手?”我组织了一场
名为“金属方法速度与精度挑战”的30天比赛。通过练习这些练习一个月而获得最大提升的吉他手会赢得一把吉
他。超过200人参加了挑战赛,超过40人完成了它。恭喜我们的获胜者Paul Wolfe!

He more than doubled his picking speed in 30 days. So did several others. Paul said, if it wasn't for the Challenge he
probably would have worked on the program for two weeks then it would join his stack of other instructional materials.
I can see that happening. So, create your own challenge. It will give you a clear 30 day goal. I recommend practicing
these exercises at least half an hour each day for a month. Use a metronome to determine how fast you can play each of
the first three exercises without mistakes. Make a record of the tempo along with today's date. In 30 days take the test
again to see how much improvement has taken place.

他在30天内提高了一倍以上的拨弦速度。其他几个人也是如此。保罗说,如果不是因为挑战,他可能会在这个
项目上工作两周,然后加入他的其他教学材料。我可以看到发生。所以,创建你自己的挑战。它会给你一个清
晰的30天的目标。我建议每天至少话费半小时练习这些练习,并坚持一个月。使用节拍器来确定您可以在没有
错误的情况下弹奏前三个练习的速度。记录拍速和当天的日期。在30天内再次进行测试,看看发生了多大的改
进。

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This program addresses one of the biggest problems my students face. That is a lack of precision do to a lack of focus.
I find that student's attention gets scattered. They learn bits and pieces of songs from the Internet, purchase instructional
material, and take private guitar lessons. They buy the latest amplifiers, guitars, and software. This can all become a
huge distraction. The student often fails to improve even after purchasing that shiny new Les Paul. To learn to play with
precision you must stay focused. Most guitar leads are played with just three simple shapes. This program focuses your
attention on these three fundamental shapes. Why not learn to play them to perfection? You will develop the muscle
memory necessary to play faster and more precisely.

该课程解决了我的学生面临的最大问题之一。这是缺乏精确度,以致缺乏重点。我发现学生的注意力分散。他
们从互联网上学习点点滴滴的歌曲,购买教学材料,并参加私人吉他课程。他们购买最新的放大器,吉他和软
件。这可能会成为一个巨大的分心。即使购买了闪亮的新莱斯保罗,学生也往往无法改善。要学会精确地玩,
你必须保持专注。大多数吉他的导致只用三个简单的形状来演奏。该计划将您的注意力集中在这三种基本形状
上。为什么不学习把它们发挥到完美?您将开发更快速,更准确地发挥所需的肌肉记忆。

The initial inspiration for this lesson came from Metal Method instructor Dan Mumm. When I was producing Speed
Pick Mechanics for Dan he said something like, "All of these complicated sequences are composed of just three simple
shapes." Whoa, what did he just say? I basically took that concept and expanded it into Speed and Accuracy for Lead
Guitar. Thanks Dan for the inspiration.

本课的最初灵感来自 Metal Method 教练——Dan Mumm。当我为Dan制作Speed Pick Mechanics时,他说道:


“所有这些复杂的序列都由三个简单的形状组成。”哇,他刚刚说了什么?我基本上把这个概念扩展到了Lead
Guitar的速度和准确度。感谢丹的灵感。

Many of the speed techniques that I'm teaching I learned from working with Michael Angelo Batio over the past two
decades. So, a very special thanks to MAB for the knowledge that he has shared with me. To continue on your path to
shred guitar please check out Michael and Dan's Metal Method videos. They move well beyond the basics that I'm
covering here.

我教过的许多速度技术都是在过去的二十年里与Michael Angelo Batio合作学到的。所以,非常感谢MAB了解


他与我分享的知识。要继续走速弹吉他的路线,请查看Michael和Dan的Metal Method视频。他们远远超出了我
在这里覆盖的基础知识。

Twelve of these exercises are in E natural minor. To change keys just move these patterns up and down the neck like
barre chords. Take a look at the first fretboard. It shows position one of the E natural minor scale two fretboards. The E
root notes are red. If you want to play A natural minor, just move the pattern back until an A note is in the root position.
This is illustrated in the second fretboard. Changing keys is that simple. If any of the theory explained in this lesson
sounds like a foreign language that's okay. You will still find all of these exercises useful. If you're interested in learning
about modal theory I have a simple explanation in my Complete Basic Course.

其中十二项练习是E自然小调的。要改变调,只需将这些样式像横按和弦一样上下移动即可。看看第一块指板。
它显示了E自然小尺度两个指板的位置之一。 E根音是红色的。如果您想播放自然未成年人,只需将模式移回
到A音符位于根音位置。这在第二块指板上进行了说明。改变键很简单。如果在本课中解释的任何理论听起来

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像是一门外语,那没问题。你仍然会发现所有这些练习都很有用。如果你对学习模态理论感兴趣,我可以在我
的完整基础课程中做一个简单的解释。

In this lesson I'll be referring to half-step and whole-step intervals. A half step interval is just two adjacent notes. A
whole step interval is two notes separated by a fret. The three basic patterns that I'll be covering are defined by these
intervals.

在本课中,我将提到半音和全音的音程。半音音程只是两个相邻的音符。全音音程是由音品分隔的两个音符。
我将要介绍的三种基本模式是由这些间隔定义的。

There are seven positions of the natural minor mode included in the lesson booklet. Check out the fretboards labeled 3
Notes per String hold up binder - adjust metering. As you look at these seven positions of E natural minor notice how
the positions overlap. These seven patterns contain the exact same notes, and intervals in the same order. All of these
positions only contain the 7 notes of the E natural minor mode. The seven patterns can all be viewed as essential
exercises to memorize for this program. But begin by memorizing the third pattern because many of the exercises in
this lesson are played in that position.

课本中包含七种自然小调模式。检查标有3个音符的指板持有活页夹 - 调整测量。当你看到这E个自然次要位
置的这七个位置时,这些位置是如何重叠的。这七个模式包含完全相同的音符,以及相同顺序的间隔。所有这
些位置只包含E自然小调模式的7个音符。这七种模式都可以看作是记住这个程序的基本练习。但从记忆第三
种模式开始,因为本课中的许多练习都是在这个位置上进行的。

This is the third position. Beginning on the first string there is a whole-step, half-step interval. The first two notes on
the first string are separated by a whole-step. The second and third notes are side by side, adjacent which is a half-step.
The second string is also a whole-step, half-step pattern. The third and fourth strings are both half-step, whole-step
patterns. The fifth and sixth strings are whole-step, whole-step patterns. These are the three basic patterns that are the
building blocks of most lead guitar shapes.

这是第三个位置。从第一弦开始,有一个完整的半步间隔。第一个字符串的前两个音符由整个步骤分隔。第二
和第三个音符是并排的,相邻的是半个音符。第二个字符串也是一个完整的半步模式。第三和第四个琴弦都是
半步式,整体式样。第五和第六个字符串是全步,全步模式。这是三种基本模式,是大多数主角吉他形状的基
石。

In the 2007 version of The Complete Basic Course I show E natural minor divided into five different positions. These
shapes are the same notes and intervals in the same order as the 3 notes to a string patterns but the groups are divided
differently. These patterns are called Caged patterns. Fretboard examples are included with the lesson materials for
comparison only. For this program we're only going to be dealing with the 3 notes to a string patterns but I want to
acknowledge there are different ways to organize these same notes and intervals into different shapes.

在2007年版的“完整基础课程”中,我将E自然小调分为五个不同的位置。这些形状与三个音符相同的音符和间
隔与字符串模式相同,但组的划分方式不同。这些模式被称为Caged模式。指板示例包含在课程资料中,仅供

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比较。对于这个程序,我们只是要处理3个音符的字符串模式,但我想承认,有不同的方式将这些相同的音符
和音程组织成不同的形状。

The three notes to a string method is a favorite among shred guitarists because it's easier to play fast when three notes
are played on each string. The caged positions have some strings with only two notes which is a single whole step
interval. That can trip you up when playing at shred speed.

弦乐法中的三个音符是碎片吉他手中的最爱,因为当每个弦乐奏出三个音符时,它更容易弹奏。笼子里的位置
有一些只有两个音符的琴弦,这是一个单一的整个音程。当以碎化速度玩时,这可能会让你感觉不舒服。

You may be wondering, what about the pentatonic scale? The five positions can be found within these shapes. The
pentatonic doesn't include the half steps can sound out of key if you sustain the additional notes during a lead. It includes
a fourth pattern that is common in lead guitar and not covered in this program. It's the step and a half interval.

你可能想知道,五声音阶比例怎么样?五个位置可以在这些形状中找到。五声音不包括如果您在领先期间保持
附加音符,则半音可能会失去音调。它包含了吉他中常见的第四种模式,未在此计划中涵盖。这是一步半的时
间间隔。

I use a 1.5 mm Dunlop pick. It’s quite rigid which gives me very precise control. Beginners often use their first finger
to pluck the string instead of a pick. That’s why I recommend to hold the pick as an extension of the first finger. The
pick should be held light enough that there is a little give as it strikes the string. You want to move through the string
with as little resistance as possible. For that reason, the pick isn't held perpendicular to the strings or it would get caught.
It's held at a slight angle allowing it to glide over the strings. That angle can be either up or down depending on the
technique. There is one more angle to contend with. I'm holding the pick parallel to the strings even though it's angled.
The thumb moves slightly down so the pick is no longer parallel to the strings. For the technically minded, there are
two axis to consider when holding the pick.

我使用了一个1.5毫米Dunlop拨片。这是非常严格的,这给了我非常精确的控制。初学者经常用他们的第一根
手指来摘弦,而不是挑选。这就是为什么我建议选择作为第一根手指的延伸。选秀时应该保持足够轻盈,以便
在击打绳子时有一点点投入。你想尽可能的阻力穿过绳子。出于这个原因,选秀权不是垂直于弦或将被抓住。
它的角度很小,可以在琴弦上滑行。取决于技术,该角度可以是向上或向下。还有一个角度需要解决。即使它
是倾斜的,我仍然会选择与琴弦平行的琴弦。拇指轻微向下移动,以便拨弦不再平行于琴弦。对于技术上的想
法,拿着镐时有两个轴要考虑。

Most guitarists stare at their fretting hand. Watch your picking hand too. Keep the pick position close to the string with
the motion as tight as possible. The motion shouldn't be wide like this. It should move up and down just enough to pluck
the string without additional motion. This is all about efficient pick movement.

大多数吉他手盯着他们按弦的手。但同时要关注你的拨弦的手。尽量保持拨片靠近琴弦,尽可能小幅度移动。
拨片运动不应该太大。它应该上下移动,足以在没有附加动作的情况下拨弦。这是关于高效的选择移动。

The exercises in this lesson are performed with alternate, up and down picking. As you study your picking hand you
may notice that you're not alternate picking on every stroke. That can slow you down because you end up tripping over

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yourself. Speed is attained through efficiency and by using a repetitive motion. If you pick an exercise differently each
time you'll never develop the muscle memory necessary to shred. The first beat of each measure is the downbeat. As
you tap to the rhythm of each measure both your toe and pick should be down on the downbeat. This is one way to
check the accuracy of alternate picking. If you can hear unwanted string noise, work on your muting technique. Strings
that aren't being played should be palm and finger muted as described in The Complete Basic Course.

本课中的练习是通过交替的,向上和向下的拨弦进行演示的。当你学习你的拨弦手时,你可能会注意到,你不
是每次都选择交替拨弦。这会让你放慢脚步,因为你最终会绊倒自己。速度是通过效率达到的并通过使用重复
动作。如果你每次选择锻炼方式都不同,那么你将永远不会发展速度所需的肌肉记忆。每项措施的第一拍都是
失败。当你轻轻掌握每一项测量的节奏时,你的脚趾和剔骨都应该处于低迷状态。这是检查交替拣选准确性的
一种方法。如果听到不必要的弦乐噪音,请使用静音技术。不完整的基础课程中所描述的弦乐应该是手掌和手
指静音。

Michael Angelo Batio explains that to find your "potential picking speed" do tremolo picking on a single note. He calls
this potential picking speed because that is as fast as you can pick right now. It's your potential today but your potential
can increase over time.

Michael Angelo Batio解释说,要找到你的“潜在拨弦速度”做一个音符拨弦震音。他称这种潜在的拨弦速度,因


为这是你现在可以选择的速度。这是你今天的潜力,但你的潜力会随着时间的推移而增加。

For my explanation I'll refer to "potential picking speed" as your MAX. To tremolo pick keep your the fingers on your
picking hand inactive. I could say to keep your fingers rigid but that's not quite accurate. They look rigid only because
they're inactive. There is a softness to the feeling. The pick motion is created primarily by the wrist.

对于我的解释,我将把“潜在拨弦速度”称为MAX。拨弦震音 选择保持你的按弦手指不动。我可以说保持你的
手指僵硬,但这不是很准确。它们看起来很僵硬,只是因为它们不活跃这种感觉是柔软的。拨弦动作主要由手
腕创建。

Next, use a metronome to gradually increase speed to determine your current MAX. Try tremolo picking with sixteenth
notes, four per beat and eighth note triplets, three notes per beat. Gradually increase speed to your MAX. This is also
great to do while warming up. The metronome works well for this but that's old school technology. I prefer to use the
Guitar Pro Speed Trainer. Set the song tempo to your MAX and set the Speed Trainer to increase speed through each
loop. I have a video that explains how to use the Speed Trainer on our YouTube channel. Of course my YouTube
channel includes the obligatory cat training video, a Traegar Barbeque demonstration and even a video of my drunk
friend Tony hanging upside down. It's not all work around here.

接下来,使用节拍器逐渐增加速度以确定您当前的MAX。尝试用十六分音符,每节拍四个和八分音符三重奏,
每节奏三个音符来拨弦震音。逐渐提高你的MAX的速度。这在热身时也很棒。节拍器适用于此,但这是老派
技术。我更喜欢使用Guitar Pro Speed Trainer。将歌曲速度设置为MAX,并设置速度训练器以增加每个循环的
速度。我有一段视频介绍了如何在我们的YouTube频道上使用Speed Trainer。当然,我的YouTube频道还包括
强制性的猫训练视频,Traegar烧烤示范,甚至是醉酒朋友Tony的视频。这并不是所有的工作。

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Chances are, you can tremolo pick way faster than the speed that you're currently able to play the exercises. Most people
think they're unable to alternate pick at fast tempos because their picking hand isn't coordinated. Most of the time the
problem is the fretting hand isn't in sync with the picking hand.

很有可能,你可以以比现在能够进行练习的速度更快的速度拨弦方法。大多数人认为他们无法快速交替选择,
因为他们的选手不协调。大多数情况下,问题在于按弦的手与拨弦的手不同步。

As picking speed moves past 130 bpm be sure that your picking technique matches your tremolo picking. At slower
tempos active finger movement can be expressive. Fast tempos demand minimal finger movement.

当拨弦速度超过130 bpm时,请确保您的拨弦技巧与您的颤音拨弦相匹配。在较慢的节奏中,主动手指移动可
以是表达性的。快速节奏要求最小的手指移动。

When you're playing leads and scales in a linear fashion, don't lift a finger until necessary. Keep your fingers as close
to the fretboard as possible. It's difficult to keep your pinkie close to the fretboard but do the best that you can.

当您以线性方式弹奏主音和音阶时,请勿抬起手指直至必要。尽可能使手指靠近指板。很难让你的小指靠近指
板,但尽可能做到最好。

The thumb should be positioned in the middle of the neck when playing fast. This puts your hands in position to play
with your finger tips instead of the flat area.

当快速弹奏时,拇指应位于脖子中间。这使您的双手处于适合您的指尖而不是平坦区域的状态。

Still, for Classic Rock and Metal the thumb over the top of the neck works well, especially for string bending. So, don't
look at this as a technique to replace your current playing style. Think of it as a technique to use along with your current
style.

尽管如此,对于经典摇滚和金属来说,脖子上方的拇指运作良好,特别是对于琴弦弯曲。所以,不要把它看作
是取代你当前演奏风格的技巧。把它看作是一种与你现在的风格一起使用的技术。

Even though you should play with finger tips the first finger is often positioned a little flat on the strings like a barre.
This is to keep your sound clean by muting the surrounding strings.
 The tip of the first finger can mute the lower string
by barely touching it and it can lie across the higher string to mute it. This is an advanced technique that isn't necessary
unless you hear too much string noise and there's no other way to eliminate it.

即使你应该弹奏用指尖,第一根手指通常被定位在像琴弦一样的琴弦上。这是为了通过静音周围的琴弦来保持
您的声音干净。第一根手指的尖端可以通过几乎不碰它的方式将下弦静音,并且它可以位于较高的弦上以使其
静音。这是一种先进的技术,除非您听到过多的弦噪声,否则没有其他方法可以消除它。

Repeat each exercise while gradually increasing tempo. Try to determine your MAX without errors. Write down this
maximum tempo. I recommend using a guitar strap when you're sitting. Just tighten it so the guitar isn't quite resting on
your lap. It will be much easier to reach the high notes and to stand while playing.

重复每个练习,同时逐渐增加节拍速度。尝试确定你的MAX(无误弹奏)。写下这个最大拍速。我建议在坐
下时使用吉他背带。把它收紧,这样吉他就不会放在你的腿上。达到高音并在演奏时站立起来会容易得多。

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Here is the first of the three patterns that are the foundation for lead guitar. This is half step, whole-step descending and
whole-step, half-step ascending and.

这是主奏吉他基础的三种模式中的第一种。这是半音,全音下行和全音,半音上行。

Pay careful attention to the last three notes in the third measure. I'm not just running down the scale. All exercises are
eighth note triplets not sixteenth notes so use a rhythm that accents groups of three. Be careful not to play with the
rhythm of sixteenth notes. The hi-hat cymbals that you hear in the animated tab occur on the quarter note, 4 beats to the
measure. Triplets are played 3 notes per beat, 12 notes to the measure.

仔细关注第三项措施中的最后三个音符。我不只是在弹奏音阶。所有的练习都是八分音符三连音而不是十六分
音符,所以使用三个音节组合的节奏。注意不要弹奏十六分音符的节奏。您在动画选项卡中听到的hi cy出现在
四分音符上,4次跳动。三重奏每个节奏播放3个音符,12个音符。

The second exercise is a whole-step, half-step pattern descending and a half-step, whole-step pattern ascending. This is
the second of the three-note patterns that are the foundation for lead guitar. Be sure that each note is sounding clearly.
You should be playing with your finger tips. This will occur naturally if your thumb is properly positioned on the back
of the neck.

第二个练习是一个全音,半音的下行样式,和半音,全音上行样式。这是作为主音吉他基础的三音符模式中的
第二个。确保每个音符都听起来清晰。你应该玩指尖。如果你的拇指正确地放在脖子后面,这会自然发生。

Exercise 3 is the whole-step, whole-step shape. It's the most difficult of the first three fundamental exercises. Be sure
that your hand is angled properly. Don't make it more difficult than it already is by angling your hand in the wrong
direction. As I've already mentioned, the placement of your thumb on the back of the neck will help to properly position
both your hand and fingers.

练习3是全音——半音,全半的形状。这是前三个基本练习中最困难的。确保你的手正确地成角度。不要让它
比现在更难通过向错误的方向倾斜你的手。正如我已经提到的,将拇指放在脖子后部将有助于正确定位手和手
指。

Individuals have anatomical differences in finger length and hand shapes. The proper fingering for this whole-step,
whole-step exercise might be different for you than it is for me. I prefer using my first, second and fourth fingers like
this. You might find the first, third and fourth fingers more comfortable.

个人有手指长度和手形的解剖差异。对于你来说,适当的指法对于你来说可能是不同于我的。我更喜欢使用我
的第一,第二和第四个手指。你可能会发现第一,第三和第四根手指更舒服。

Here's how to determine the proper fingering for you. Move exercise 3 back 5 frets. Play the exercise very slowly using
both fingerings: 1-3-4 and 1-2-4. Observe which of the two appear to be the most efficient. Which one requires the least
amount of hand movement? Choose your fingering based on efficiency.

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以下是如何确定适合你的指法。将练习3移回5档。使用两个指法非常缓慢地练习练习:1-3-4和1-2-4。观察哪
两个看起来效率最高。哪一个需要最少量的手部运动?根据效率选择你的指法。

For a fast 5 minute warm up you can't beat these first three exercises. Look at the fingers that are being coordinated.

对于快速的5分钟热身,你无法击败前三场练习。看看正在协调的手指。

If you are using this program as a 30 day challenge it's better to play these exercises twice a day, fifteen minutes each
time than to practice a half hour at one sitting. Also, it's very effective to review these exercises briefly before going to
bed. You're subconscious will go to work while you're sleeping and you'll wake up tomorrow as a better guitarist.

如果您使用此程序作为30天的挑战,最好每天练习两次,每次练习15分钟,而不是一次练习半小时。另外,在
睡觉前简单回顾一下这些练习是非常有效的。你潜意识会在你睡觉时上班,明天你会醒来成为一个更好的吉他
手。

Pay attention to your breathing. Try to breathe normally. If you hold your breath you're not relaxed enough to play the
exercises properly. If there's a section that is difficult and you feel muscles tensing, practice the part until you can
breathe normally.

注意你的呼吸。尝试正常呼吸。如果你屏住呼吸,你就不够放松,无法正确演练运动。如果有一部分很难,而
且感觉肌肉紧张,那么练习一下,直到能够正常呼吸。

Tap your foot in time while playing these exercises. If you can't tap your foot and play a section properly you simply
don't know the part yet. It's very difficult to sit still and feel the rhythm. Tap your foot, nod your head, involve your
body in the rhythm of the exercise.

在弹奏这些练习时,及时点击你的脚。如果你不能轻拍你的脚并且正确地演奏一个部分,你根本就不知道该部
分。坐下来感受节奏是非常困难的。点击你的脚,点头,让你的身体参与运动的节奏。

If you play an exercise at your MAX and constantly make mistakes slow down. You're beyond your MAX. Don't embed
mistakes in the subconscious.

如果您在MAX上进行锻炼,并且经常犯错,请放慢速度。你超越了你的MAX。不要在潜意识中嵌入错误。

Be focused but not too focused. There is a point just short of paying complete attention that is difficult to describe. As
you practice think about your focus and notice the state that you're in when everything is flowing. It's short of being
overly conscious but it's well beyond not thinking about what you're playing at all. Try to focus on the hi-hat instead of
your playing. Exercise 5 is a very long version of Exercise 4. When I'm trying to get through these exercises quickly I'll
skip this one because it's twice as long as most of the other exercises and is quite similar to Exercise 4. When using the
Guitar Pro Speed trainer I double the "steps" percentage to move through this one faster.

专注但不太专注。有一点很难完全重视,难以描述。当你练习思考你的焦点,并注意你所处的状态时,一切都
在流动。它缺乏过度的意识,但它远远超出了没有考虑到你在玩什么。尝试专注于嗨帽,而不是你的演奏。练
习5是练习4的一个非常长的版本。当我试图快速完成这些练习时,我会跳过这一练习,因为它是其他练习的两
倍,并且与练习4非常相似。使用练习4时吉他临速度教练我加倍“步”百分比,以更快地通过这一步。

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Notice that I begin Exercise 6 with a sustained E note. This helps to hear these intervals as E natural minor. As you
learned in The Complete Basic course the seven notes of the E natural minor mode are actually 7 different modes and
the sound changes based on the root note. So, to make this sound like E natural minor the E root note needs to be
emphasized.

请注意,我以一个持续的E笔记开始练习6。这有助于将这些间隔听作E自然次要的。正如您在The Complete Basic


课程中学习的那样,E自然小调模式的七个音符实际上是7种不同的模式,并且声音根据根音调变化。因此,为
了使这种声音像E自然小调,E根音需要被强调。

One of the cool things that I've learned from practicing these exercises is, as you try to play faster your picking technique
will naturally improve. Your technique must change or you don't learn to play faster. For example, once you get to about
130 bpm you're not going to move beyond that tempo unless your pick angle is perfect and your finger movement is
very still. As you attempt to move beyond your current level there is a point that you begin holding the pick a little
differently. There is a feeling in your pick hand that you've never experienced before. This is all guided by naturally
making changes in your technique to play faster. Regardless of how I explain perfect playing technique you'll never
truly understand it until you personally begin to feel it.

从练习这些练习中学到的一件很酷的事情是,当你试图更快地发挥时,你的挑选技术自然会得到改善。你的技
巧必须改变,否则你不会学得更快。例如,一旦你达到大约130 bpm,除非你的挑选角度是完美的,并且你的
手指运动非常静止,否则你不会超出这个节奏。当你试图超越你目前的水平时,有一点你开始持有这个选择有
点不同。你的挑选手里有一种你从未体验过的感觉。这一切都是通过自然而然地改变你的技术来更快发挥。无
论我如何解释完美的演奏技巧,在你亲自开始感受之前,你永远不会真正理解它。

When changing positions it may feel as if your hand is racing to get to the first note of the new position. Otherwise,
you'll hear string noise or find yourself drifting behind. This will be very obvious when playing the linear patterns in
Exercise 7 because you're changing positions every three notes - hopping to that new position. And that is what I'm
feeling when I change positions, my hand hops to the new position. It's not a smooth transition or you'll be left behind
the beat. This is an exaggeration of the movement but should give you an idea of what I'm feeling as I move between
positions.

在改变位置时,您可能会觉得您的手正在竞速以获得新位置的第一个音符。否则,你会听到弦乐噪音或发现自
己在后面漂流。在练习7中演奏线性模式时,这是非常明显的,因为每三个音符都会改变位置 - 跳到新的位置。
这就是我换岗时的感受,我的手跳到了新的位置。这不是一个平稳的过渡,否则你会被抛在后面。这是对运动
的夸张,但是应该让你了解我在两个职位之间移动时的感受。

Exercise 8 does the same linear climb as Exercise 7 except all of the intervals are on a single string. The cool thing
about Ex 8 is, you can move it to the other five strings and play the linear scale using the same fingering and intervals.
This is illustrated in Ex 9 which I'm not performing here because it's the same technique and intervals as Exercise 8.
Run through exercise 9 so you'll at least understand what I'm talking about. I'm using it to illustrate how to move the

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scale from string to string. It's the exact same pattern of intervals on all six strings. Memorizing this linear pattern will
help you get out of the pentatonic box. It can be used to move from pattern to pattern.

练习8与练习7做同样的线性爬升,除了所有的时间间隔都在一个单独的字符串中。 Ex8的酷炫之处在于,您可
以将它移动到其他五个琴弦,并使用相同的指法和间隔播放线性音阶。这在Ex 9中有说明,我不在这里执行,
因为它与练习8的技巧和间隔相同。通过练习9运行,以便至少了解我在说什么。我用它来说明如何将字符串的
字符串移动到字符串。在所有六个琴弦中间隔的模式完全相同。记住这个线性模式将帮助你摆脱五声音盒。它
可以用于从图案移动到图案。

Here are all of the notes in E natural minor. The E root notes are the red circles. Pick any root note on the fretboard and
it is followed by these intervals: whole-step, half-step, whole-step, whole-step, half-step, whole-step, whole-step to the
octave. You'll see that every root note is followed by these same intervals. That's why this same pattern can be played
on each string. If you change keys the intervals are the same, just following a different root note. For example, the next
exercise is in A minor. Be very careful not to pull the third string sharp. It's easy to do.

以下是E自然小调中的所有注释。 E根音是红色的圆圈。在指板上选取任何根音,然后是这些音程:全音阶,
半音阶,全音阶,全音阶,半音阶,全音阶,全音阶到八度。您会看到每个根音符后面跟着相同的音程。这就
是为什么这种模式可以在每个字符串上播放。如果您更改了键,则间隔是相同的,只是遵循不同的根音。例如,
下一个练习是在A小调中。小心不要拉第三根弦。这很容易做到。

Since this is demonstrated using only hammers and pulls you can really play this one fast. You can still use an alternate
picking technique even though you're only picking every third note.

由于这只用锤子和拉力来演示,所以你可以很快地演奏这个。即使您仅选择每三分音符,您仍然可以使用替代
选取技巧。

I love how symmetrical this is - you're playing the same thing on both strings for the first four patterns.

我喜欢这种对称性 - 在前四种模式中,你在两个琴弦上演奏同样的东西。

Exercise 12 isn't actually a playing exercise. I'm demonstrating that the sequence that you learned in Exercise 11 can be
moved to other strings. Check out the 7th through 11th measures and you'll understand what I'm talking about. This is
the same pattern on the 3rd and 4th strings. These same two string arpeggios can be moved to any pair of strings except
to the third and second because of how the b string is tuned. So, by learning these on two strings you can easily transfer
it to other pairs of strings. With very little effort you can use this simple exercise to open up the entire fretboard. You
can play all the way up the neck on two strings without having to learn a different pattern. For more on two string
arpeggio shapes check out Dee J Nelson's Lead Guitar DNA.

练习12实际上并不是一项演奏练习。我正在演示练习11中学到的顺序可以移动到其他字符串。检查第7至第11
措施,你会明白我在说什么。这是第3和第4个字符串上的相同模式。由于b字符串的调整方式,这些相同的两
个字符串琶音可以移动到除第三个和第二个字符串之外的任何字符串对。因此,通过在两个字符串上学习这些
内容,您可以轻松地将其转换为其他字符串对。只需很少的努力,您可以使用这个简单的练习来打开整个指板。

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你可以在两条琴弦上吟唱一路,而不必学习不同的模式。有关两个弦乐琶音形状的更多内容,请查看Dee J
Nelson的Lead Guitar DNA。

Exercise 13 is just another variation of Exercise 11. And yes, it also can move to any pair of strings aside from G and
B.

练习13只是练习11的另一个变体。是的,它也可以移动到G和B以外的任何一对弦。

Michael Angelo Batio explains that to play fast you've got to practice slow. Most people don't understand just how slow.
You must play so slowly that you're not making any mistakes. Don't embed mistakes into your subconscious. I've seen
many people try to reach a particular tempo. For example, 130 bpm. They think slow is 120 bpm. No, slow is 70 or 80
beats per minute. To embed scales, leads, and exercises into your subconscious correctly, play them for eight minutes
at 60% then play them at your MAX and maybe beyond for a couple of minutes. During the two minutes it's okay to
play them so fast that you're making a few mistakes. This will help you to break through your current limitations. After
you really know the part use the Guitar Pro Speed Trainer to take you to your MAX and beyond. At that point, you no
longer need to play the exercise for 8 minutes slowly unless you continue to experience too many mistakes.

迈克尔安杰洛Batio解释说,要发挥得很快,你必须练习缓慢。大多数人不明白有多慢。你必须慢慢弹,以免犯
错。不要把错误嵌入你的潜意识里。我看到很多人试图达到一个特定的速度。例如,130 bpm。他们认为缓慢
是120 bpm。不,慢,每分钟70或80次。为了让你的潜意识正确地嵌入刻度,引导和练习,以60%的拍速弹奏
它们八分钟,然后在MAX上弹奏它们,甚至在几分钟之内播放它们。在两分钟内可以快速弹奏它们,以至于
犯了一些错误。这将帮助您突破目前的限制。在您真正了解该部件后,请使用Guitar Pro Speed Trainer将您带到
MAX以及更远的地方。此时,除非您继续经历太多错误,否则您不再需要慢慢练习8分钟。

Now that you know how to play fast, what are you going to do with what you've learned? Start off by recording a
backing track or use some of the backing tracks from our Metal Method lessons. Let's say that the backing track is
played at 120 bpm. Spend a few minutes warming up at 120 bpm. Start with the tremolo picking drill and move on to
the exercises. Once you are comfortable with the feeling of playing at120 bpm try playing along with the backing track.
I bet you're going to create some leads unlike anything that you've ever played before. Be careful not to overdo it with
the exercises. You don't want the lead to sound like a scale practice session. Mix it up with some licks. If you don't have
my Classic Guitar licks program download it. All of the licks are in A minor so just move them up or down the neck to
E minor. They're also labeled according to the mode or scale. For natural minor choose any of the pentatonic or natural
minor licks.

现在你知道如何快速发挥,你将如何处理你所学到的东西?从录制背景音乐开始,或使用Metal Method课程中
的一些背景音轨。假设支持曲目以120 bpm播放。花120分钟时间热身几分钟。从颤音拨弦演练开始,继续练习。
一旦你对120 bpm的打球感觉舒服,可以尝试与背景音乐一起玩。我敢打赌,你会创造一些不同于以前玩过的
任何线索。 小心不要过度练习。 你不希望领导听起来像一个规模练习会议。 把它和一些舔混在一起。 如果
你没有我的古典吉他舔节目下载它。 所有的舔都在A小调中,所以只需将它们向上或向下移动到E小调。 它
们也根据模式或比例进行标记。 对于自然小调,选择任何五声或小调舔。

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Although I call this a 30 day challenge, you may wish to make it a 90 day challenge and continue to move beyond your
current limits. You'll increase Speed and Accuracy for life and never look back. I hope that you experience the same
success with this program as others have. See you on my next video.

虽然我称之为30天的挑战,但您可能希望将其作为90天的挑战,并继续超越当前的限制。你会提高速度和准确
度,永不回头。我希望你能像其他人一样,在这个计划中获得同样的成功。在我的下一个视频中看到你。

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