I have an alternative answer for that issue.
It's not that you ask too much from your wrist motions. Maybe you do, can't tell without watching your technique. Yet the most probable reason why you can't pass the 150-160 gap is the doubling of a motion. By this I mean, for example, a full...
What, by this thread you mean the bull.... you said? I gave you one chance to move on, but you insisted, right?
I don't say all progressions are based on the major scale, I said it's the NOTATION. You don't understand what I say, but hey, if you can't recognize a minor 3rd when you hear one...
Except that your wikipedia source shows I'm right.
The progression, represented in Roman numeral analysis, is: I–vi–IV–V. For example, in C major: C Am F G.
Do you understand that it has nothing to do with an Am F Dm Em? Would it help if it starts in C ? Cm Ab Fm Gm. Can't...
Okay enough bull..... You don't make any sense. Really.
You can't call A- F D- E- an I- VI IV- V-.
The numbers correspond to the degrees of the major scale. If they didn't, no one could tell what your numbers mean. And since they do, "I" must stick to its place on the scale. Therefore it...
Uh? It doesn't match with the rest of the world then. Harmonic progressions don't necessarily have a resolution chord, and can't even follow the 7 degrees system derived from the major scale, it's very naive to think that way.
It's a science of practice, my way to build musical intuitions, in one's mind, not on paper. Theories are there to rationalize what is built, so it comes next. I guess I can explain how I practiced composition over the years. Basically I started by exploring the connections between two triads...
The chords are
The chord pattern is therefore
e-I-X-I---I---I---I the 9th degree
b-I---I-X-I---I---I the 7th
g-I---I---I-X-I---I a 5th
d-I---I---I---I-X-I the 3rd
a-I-X-I---I---I---I another 5th...
- It's the chord he uses. The numbers are the degrees (obviously).
- Well, if we have to describe modal progressions on a tonal system, it's common sense to refer to the closest tonal progression. If a theory says otherwise, maybe it's time to change the theory.
The chords are Am9 and Em9. So the closest tonal progression is VI III.
-1 abuse of bends. For obvious reasons.
-2 abuse of stretched finger patterns. Fingers out of alignment can't deal with pressure very well. Especially when it comes from the wrong angle. (stretch in one direction + slide in the other.. nope nope)
-3 straight fingers in general. Lack of...
What I refer to pronosupination is pronosupination lol. Elbow is the axis of rotation, it doesn't qualify as a wrist technique.
Ok, bad wording : It moves less weight since the mass is equally spread around the axis and any imbalance caused by a non-neutral wrist posture is offset by the gain...
For striking strings, pronosupination moves less mass and has more strength than any wrist motion, even when moving perpendicularly to the floor.
You reduce the picking question to striking frequency, ignoring how complex are the motions to skip and change strings at high frequencies, and...
Wrong. Picking with the wrist
- can be inferior to techniques involving other articulations.
- is not a picking technique. A picking technique is a combination of movements, each being assigned to specific tasks to strike, skip and change strings. The wrist has four and many different ways to...
I wouldn't even care for a trapezoid neck. Generally when you shape a neck, you start by making a trapeze. Since making a trapeze is part of shaping a round neck with traditional tools, you can't be suited for not having finished the neck. lol. If Toone doesn't patent precise angles with a...
Different combinations of movements call for different anchoring. It's rarely a matter of preference but a matter of technique. Some techniques allow to anchor with the full edge of the hand, or just its base, or the base of the thumb. Changing the anchor generally changes the available motions...