Guitarists are constantly seeking to push the boundaries of speed and technique, and Guitar Hyperpicking stands out as one of the most talked-about advanced techniques. While the clip featuring John Taylor showcasing picking at an astonishing 24 notes per second (or 12 round-trip motions per second) might seem like the pinnacle of speed, understanding hyperpicking goes beyond just raw velocity.
What Exactly is Guitar Hyperpicking?
Reaching speeds around 10, 11, or 12 notes per second on the guitar is less about incremental speed increases and more about engaging a specific type of picking motion – the hyperpicking motion. Once this motion is triggered, minor speed variations become less significant than achieving smoothness and control. If you can tap your fingers or press a button at these rapid speeds, you are likely already capable of the fundamental hyperpicking movement.
The real challenge then shifts from simply achieving maximum speed to mastering guitar hyperpicking on command, and integrating it musically at various controlled speeds. While some unconventional methods, like physical exercises, are suggested to unlock this technique, anecdotal evidence suggests that hyperpicking can sometimes manifest spontaneously.
Spontaneous Hyperpicking: An Unexpected Phenomenon
Interestingly, some individuals can perform guitar hyperpicking seemingly without prior practice or specific training. In one instance, a team member unexpectedly demonstrated hyperpicking while making a physical joke involving rigid movements. This spontaneous action revealed a rapid arm motion characteristic of hyperpicking, clocking in at over 20 notes per second in motion capture analysis. Although the execution lacked smoothness and accuracy initially, the core motion was undeniably present. This suggests that the guitar hyperpicking motion might be more innate or easily accessible than commonly perceived.
The Neck Analogy: Exploring the Nature of Hyperpicking Motion
Personal experimentation with consciously attempting hyperpicking for extended periods hasn’t always yielded consistent results. However, an intriguing parallel emerges with a related, perhaps more easily controlled motion: neck or head hyper-vibration. This involves rapidly vibrating the head back and forth by tensing neck muscles. The ability to perform this head motion on command, and conversely, to tense the same muscles without movement, raises questions about the underlying mechanism of hyperpicking.
If the neck vibration trick shares similarities with arm-based guitar hyperpicking, it highlights a potential disconnect between understanding the motion conceptually and executing it consistently on the guitar. Therefore, if a guitarist can already achieve rapid picking motions, the focus should shift from pursuing ever-greater speed to refining control, duration, and musical application of guitar hyperpicking. The key lies in mastering the existing motion for musical expression rather than solely chasing faster speeds.
