Why Do Some Play Faster Than Others?

Bill Hankey · Post by **Bill Hankey** » 9 Dec 2011 9:13 am

Are the fastest players genetically programmed to play faster? Is it the luck of the draw? Do they build muscles faster than others? They play harder, and have the genes to back it up. Genetics and drive to win, is part of the enigma, and would be a safe bet.

Zane King · Post by **Zane King** » 9 Dec 2011 9:54 am

My dad made me practice as a kid. He would tell me that I had to do a certain thing for specific amount of times. So I hurried as fast I could so I could be done!

b0b · Post by **b0b** » 9 Dec 2011 10:05 am

Playing marimba and hand drums with a metronome has increased my speed as a steel player, as I can now hear faster. I've never been a fast steel player, though. I think that genetics is part of it, but I wouldn't use that as an excuse. I believe that I could overcome any "genetic handicap" that I might have with enough practice.

Richard Damron · Post by **Richard Damron** » 9 Dec 2011 10:23 am

Buddy Emmons might well stomp all over me on this one but I remember him stating (correctly, I hope) that speed was as much, if not more, in the mind as opposed to the hands. This theory should not be discounted.

Richard

James Mayer · Post by **James Mayer** » 9 Dec 2011 10:36 am

I think it has to do with balance, just like anything athletic. I'm not fast on the steel, but I'm not trying to be. I learned speed playing flamenco guitar and it's there were a few simple things that facilitated it. The same concepts can be applied to steel.

Bear with me here. The difference between a lot of technques that are shared between classical and flamenco guitar styles are subtle, but result in more speed and more power on the flamenco side, while the classical approach has more polish and subtlety. Flamenco is more aggressive and powerful......and the speeds reached tend to be much higher. Again, it's like athletics. Always have a foot on the ground or you lose ability to be balanced and prepared for the next move.

Examples:

Classical players tend to use more thumb 'free' strokes where the flamenco player almost exclusively uses 'rest' strokes. A rest stroke with the thumb would press through the string to sound a note with the thumb slamming into the next adjacent string. That adjacent string becomes an anchor while the rest of the fingers do whatever they have to do. The anchor acts like the home keys when typing on a keyboard, but. You'll always have something planted to maintain balance. The illusion is that the anchor constantly shifts during playing. Arpeggios, tremolo, etc are all examples of high-speed anchor placement and more efficient movement. A "quiet" hand, as it's often put.

Pick blocking on steel was an incidental happy by-product of my adjusting my flamenco technique to a new instrument. I found myself pick-blocking without thinking about it because my hand wants to be anchored. While the point of pick-blocking is well, blocking, I think the natural by-product is a constantly shifting anchor, resulting in a balanced hand, resulting in efficiency, resulting in speed. This is especially apparent when playing scales across the strings with thumb and middle fingers, with the anchor shifting from one to the other.

I'm sure there are some genetic factors, as well. Some people are just better athletes than others.

Bill Hankey · Post by **Bill Hankey** » 9 Dec 2011 12:10 pm

Reaction time is faster than normal in some individuals. Reflex nerve pathways move faster in one hand than the other. The brain is wired that way. Neuromuscular signals can be trained to move with dexterity through vigorous practice sessions. The possibility of upping the tempo will depend on multifaceted studies concerned with improvisation.

b0b · Post by **b0b** » 9 Dec 2011 12:15 pm

Booze will slow you down.

Richard Sinkler · Post by **Richard Sinkler** » 9 Dec 2011 12:44 pm

Booze will slow you down.

Yea, but it makes me THINK I am playing faster.

Rick Collins · Post by **Rick Collins** » 9 Dec 2011 12:46 pm

Booze will slow you down.

A flashing red light in your rearview mirror will do it more quickly.

Great speed picking is somewhat innate. Making a conscious effort and time spent practicing it would also be contributing factors.
To me Hawaiian players generally play the Hawaiian classics too slow (not intended to be 'speed picking', I know) and unless they are really smooth some sound awful.

Bill Hankey · Post by **Bill Hankey** » 9 Dec 2011 1:13 pm

We mustn't exclude the fancy footwork at the pedals, working in conjunction with the "cobra strike" attack of the finger picks. The feet and knees need to be in good working order to sustain special work orders.

James Mayer · Post by **James Mayer** » 9 Dec 2011 1:35 pm

I always question why one needs to play that fast on steel. I've never heard a compelling steel part that "shreds".

Jack Ritter · Post by **Jack Ritter** » 9 Dec 2011 1:56 pm

When you get older, you may not play as fast. Jack

Alfred Ewell · Post by **Alfred Ewell** » 9 Dec 2011 2:25 pm

Jack Ritter wrote:When you get older, you may not play as fast. Jack

James Mayer wrote:I always question why one needs to play that fast on steel. I've never heard a compelling steel part that "shreds".

You play as fast (as you can / as is fun)! Getting older is just an opportunity to learn how to learn.
Always - always have fun! The green blanket comes soon enough.

Bent Romnes · Post by **Bent Romnes** » 9 Dec 2011 2:45 pm

It's all got to do with practice

b0b · Post by **b0b** » 9 Dec 2011 2:50 pm

James Mayer wrote:I always question why one needs to play that fast on steel. I've never heard a compelling steel part that "shreds".

You've obviously never seen Joe Wright.

Bill Hankey · Post by **Bill Hankey** » 9 Dec 2011 3:30 pm

High speed arpeggios can predispose a player to cubital tunnel syndrome.. those who are susceptible to neurological insult will feel a numbness in the ring and small finger. Speed isn't solely the domain of race-car drivers. Musicians have been known to speed-pick. I'm thinking that it may be hard to be musical, playing at enormous speeds. The E9th tuning is set up for fast licks. Finding those hot licks pockets is the reason for practicing.

James Mayer · Post by **James Mayer** » 9 Dec 2011 3:36 pm

b0b wrote:
James Mayer wrote:I always question why one needs to play that fast on steel. I've never heard a compelling steel part that "shreds".
You've obviously never seen Joe Wright.

Post some examples if you have them. I'm open minded about it and I've heard plenty of "hot" steel guitar. Just not my thing. Neither is speed cello or clarinet shredding. But who knows what will inspire me, next.

EDIT: I do find THIS inspiring. I guess this qualifies as shredding, but it's more about speed of the bar hand.

b0b · Post by **b0b** » 9 Dec 2011 5:14 pm

Here's Joe:
http://youtu.be/LNnVpTKxags
http://youtu.be/ov3ZFoE-FII

Kevin Bollivar · Post by **Kevin Bollivar** » 9 Dec 2011 5:48 pm

This is a great speed pickin tune.Here's one to check out from SARAH JORY!!

http://www.youtube.com/watch?NR=1&featu ... q0SM8t23ws

Lane Gray · Post by **Lane Gray** » 9 Dec 2011 6:12 pm

As one who didn't realize how much they play fast¹, I'll agree it comes from the mind more than the fingers. And if you have a tendency to approach playing as "which of the licks in my bag o' tricks fits here?", it'd probably surprise you how fast you can play those licks, if you try to plug then into a faster song than you usually put 'em in. The brain just compresses the time. Brains is clever things.

I personally play fast because my heart tells me "fast belongs here: the song says so." I listen to the song, and play what the song tells me to play. If the song offers no suggestions, then I play something a lot like the melody²

¹Seriously. I just play what I think the song calls for. While bemoaning often the tendency of some to play fast when it mightn't fit, I spend more time in 16th notes than I'd formerly realized, after listening to myself, then others at jam sessions.

²I have always HATED "Rose Colored Glasses" and George Jones' "I Always Get Lucky With You" because those two have NEVER deigned to give me any guidance.

Bill Miller · Post by **Bill Miller** » 9 Dec 2011 6:48 pm

I would like to be able to play much faster but I'm not wired for it. I believe genetics is a huge factor. My visiting sister and I were watching 'Jeopardy' recently and while I knew a lot of the answers she'd usually be quicker on the draw. I can't type fast, write fast...walk fast either. Some are born with quickness, others aren't.
On the other hand I see and hear some pretty well known players who are hitting a lot of notes between the frets when they get going too fast. Fast playing is a pleasure to listen to but not if the intonation goes out the window.

Mike Cass · Post by **Mike Cass** » 9 Dec 2011 9:18 pm

....to answer the original question: because they practice, practice, practice. As fast as TW is, he still practices. Also, it helps to practice slowly at first and syncopate,(allows the brain to learn and puts proper emphasis on the correct notes)gradually increasing speed...old Earl Scruggs trick. Every steel player who seeks to burn should buy/borrow a 5 string banjo and go through the Earl Scruggs Banjo Book.(If you cant handle a banjo a 5 string dobro will do nicely). I guarantee that after just 1 week of that(3 hours a day)your right hand will fly over the strings, and you will amaze yourself. There's a reason that after Earl shows you the "Cripple Creek" roll, the next bar has a repeat sign=x1000

Bill Hankey · Post by **Bill Hankey** » 10 Dec 2011 6:08 am

Face it! We'll never be able to pick at the speed that light travels. There are many things that may never be attainable in this lifetime. We can however, accelerate the process of learning to play notes, chords, and scales. Finger exercising devices to improve overall speed and timing may help to slowly double the picking speed. Significant shortcomings in pedal arrangements, and positioning oneself properly at the steel, will help to improve the essential techniques observed in successful speed pickers. Memory plays a large part in the advancing techniques. Tying a series of runs or scales together that blend very well with a particular melody can be very entertaining. A lackadaisical mode should be avoided, as well as wearisome distractions that tend to nullify the proliferation process of making essential gains.

Tony Williamson · Post by **Tony Williamson** » 10 Dec 2011 7:25 am

well, one more post from a banjo player...i was wondering..all you steelers..how much time have you practiced? when i was learning banjo (at age 9) i practiced on average 12 to 18 hours a day. every day. all the time. with whomever. countless jam sessons that mostly lasted till the sun came up. no theory behind this, no genes, just determination. look at a banjo pickers banjo head. see the wear? look at the back of the neck..is the lacquer worn off? you know when its good and youre in the zone and can do anything? thats where speed comes from. at leat mine.a steel is alot harder to tote. but i bet ive practiced 1000's upon 1000's of hours. and the other bluegrass pickers will push you , so you push yourself. dont be afraid to push.

Joe Miraglia · Post by **Joe Miraglia** » 10 Dec 2011 7:37 am

My fast picking fingers cost me a lot of money playing slots at the casino

. I shouldn't be laughing.

I think most of us would like to play faster if we could,I'm now talking about my steel playing.