Answer me these questions three.

Titus

You will get different answers from different players. Some will say to always strum from the wrist, others will say to keep the wrist straight and strum from the elbow when strumming very fast. Whatever works for you is the answer. For me, I usually strum from the wrist, but when I want to pick or strum super-fast then I will hold the wrist straight and strum from the elbow. That is what works best for me.

As far as changing speed, probably the most important thing to do is relax. This is easier said than done. But pay attention to stress in your body when you play and learn to completely relax as much as possible. I think it is also important to stay ahead of the music in your head. So you will be prepared for this quick increase in tempo ahead of time.

As far as the barre A type chord, using the ring as a barre over the B, G, and D strings is the most common method, but some use their middle, ring, and pinky fingers to hold these notes behind a barre. Again, it is what works best for you.

And I wouldn't worry that much about the high E string. In reality, you rarely strum all 6 strings, especially on an electric guitar. You can usually strum just the top 4 or 5 strings to get the sound you need. The high E usually gets buried anyway by all the other strings. So, practice to get it right, but don't worry if you miss it, it really doesn't matter that much.

I do my A barre a little differently. I barre the D and G with my middle finger and hold the B string with my pinky. This method took some practice as well, but I found it to be best for me. This allows me to not mute the high E string, and I don't have all three fingers squished in there. Wes is correct that you're not always going to have to hit the high E string, but I think it's a good idea to have the option just in case you need or want it.

Not to make this complicated but there is a movement that is from the forearm called pronation and supination. If you hold your arm out in front of you and go palm up and then palm down that is pronation and supination. That's the movement i used when strumming. It's neither wrist deviation nor elbow flexion/extension.

I do my A barre a little differently. I barre the D and G with my middle finger and hold the B string with my pinky. This method took some practice as well, but I found it to be best for me.

Thanks, good advice - this is BARRE shape I've been having problems with! I'll give it a try.

Bob Jessie

Hey I was curious about three things.

1. When i'm playing should my strumming arm (right) be moving at the elbow or at the wrist?

Almost all of your movement should come from your elbow. Wes is right when he says that different people will tell you different things. He's wrong when he says "whatever works for you." If you develop using your wrist instead of your elbow you will not be able to play entire genres. If you develop using your full arm that won't be the case.
2. I've been trying to figure out how to strum very rapidly in the middle of a song. There are two songs that come to mind where it seems impossible to get the speed down. The first is Elias by Dispatch. At 2 minutes and about 53 seconds there's a strum that's ridiculous. Also in The night will go as follows by the spill canvas at about 3 minutes and nineteen seconds (if that helps anyone?) Anyway is there something i'm missing to get my tempo to change suddenly in the middle of a song any help would be appreciated?

This is just right arm technique and strength. It's generally one of the weaker area for most players. Just keep working at it and it will get there slowly. Key is to always strum in time, and to just keep working at it.
3. When playing an A chord I typically hold the strings with my pinky(B), ring(G), and middle(D), fingers all at the second fret. But when i'm attempting barre chords like bmajor and emajor i have difficulty keeping those fingers in that position while barring the other strings , and at the same time keeping my finger off the top string. I find myself trying to flatten my ring finger across all the strings but when I do this i usually accidentally hold down the bottom string (high pitched E) as well instead of letting it ring whith my pointer finger here i'm barring. Anybody got any suggestions for how to get my hand to hold the original shape that I use with an A chord while barring up and down the neck?

Again, no magic involved. It's just working at it.

The one "trick" i do have is to say this -- seperate practice time from noodling time. During practice time accept absolutely no slop in your technique. If that means you have to slow your playing way down, then slow it down. Developing great technique requires that you practice great technique.