Funny how this exactly applies to instrument playing. Unearned speed only begets sloppiness. The only way to go past a certain velocity is to do meticulous metronome work from a perfectly manageable pace and build up with intention and synchrony. And even then it is not a linear increase, you will need to slow back down to integrate every now and then. (Stetina's "Speed Mechanics for Lead Guitar"; 8 bpm up, 4 bpm down)
At slow, manageable tempos, you can afford to use motions that don't scale to fast tempos. If you only ever play "what you can manage" with meticulous, tiny BPM increments, you'll never have to take the leap of faith and most likely will hit a wall, never getting past like 120-130 BPM 16ths comfortably. Don't ask how I know this.
What got me past that point was short bursts at BPMs way past my comfort zone and building synchrony _after_ I stumbled upon more efficient motions that scaled. IIRC, this is what Shawn Lane advocated as well.
I recommend checking out Troy Grady's (Cracking The Code) videos on YouTube if you're interested in guitar speed picking. Troy's content has cleared up many myths with an evidence-based approach and helped me get past the invisible wall. He recently uploaded a video pertaining to this very topic[0].
> What got me past that point was short bursts at BPMs way past my comfort zone and building synchrony _after_ I stumbled upon more efficient motions that scaled.
This is actually pretty close to what Stetina says. I just probably didn’t do a good job expressing it.
You’re oscillating above and below the comfort zone and that iteration like you say affords insights from both sides, and eventually the threshold grows.
Depends on the instrument. For wind instruments, the motions basically don’t change, and your focus is on synchronizing your mouth with your hands. Tonguing technique is different at high speed but you would typically practice with the same technique at low speed when learning a fast piece.
But the motions do change, at very slow tempos you can move basically one finger at a time, at faster tempos you have simultaneously overlapping motions.
On a trumpet? A clarinet? No, the motions don't simultaneously overlap. The fingering mechanics are slightly different at speed, but you would still start slow while using the higher speed mechanics and tonguing technique, not jump into high speed practice first.
No one is saying not to practice slow first. This advice is specifically for intermediate or advanced students who are putting a focus on developing speed specifically. Practice slow first, increase tempo slowly next, but when you hit a plateau, you need to add some repetitions that are well outside your comfort zone. You need to feel what it feels like to play fast, then clean it up.
It seems like this is a far more time efficient methodology to build speed on guitar, I do not know why it wouldn’t apply to other instruments like trumpet.
When I was in high school, a friend who played drums in a band would try to pull off these super complicated fast fills. He couldn't pull them off and I always thought, "why doesn't he play something he can get right?" Well, after months of practice, he was able to pull them off. He was a great drummer, but he worked at incredibly hard to get there. It's a little tangential to what you said, but it feels appropriately related.
I guess I'm agreeing while also saying that you can get there by failing a lot at full speed first. Maybe he practiced at half-speed when he was alone and I never saw that part.
One could argue that learned speed has the hours of practice "baked in" so it's actually much slower. And that's not a bad thing IMO.
I think this post only covers one side of the coin. Sure, getting things done fast achieves the outcome, but in the long run you retain and learn less. Learning new stuff takes time and effort.
> the exact same things the sloppy player is doing, but you do it in time and in tune.
It depends on the level we look at it, but I think there is fundamental difference in what excellent (professional grade?)players are doing compared to "sloppy" ones.
It is not just done with more precision and care, they will usually have a different mental model of what they're doing, and the means to achieve the better result is also not linear. Good form will give good results, but it won't lead to a professional level result. You'll need to reinvent how you apply the theory to your exact body, the exact instrument in your hand, what you can do and can't and adjust from there.
That's where veteran players are still stellar while you'd assume they don't have the muscle and precision a younger player obviously has.
PS: I left aside the obvious: playing in time and in tune is one thing, conveying an emotion is another. It is considerably hard to move from the former to the latter.
