Alternate Picking 101 Part 1 [Lessons]

AppId is over the quota AppId is over the quota Vote1 - bad2345 - average678910 - greatAlternate picking is the process of moving your pick in an down-stroke/upstroke pattern. It is very important to use your wrist in alternate picking ... NOT your whole arm, or elbow. The strength will also come from your forearm muscles. Any forearm workouts will really make your alternate picking more powerful and dynamic. It is extremely important to use a metronome for each and every one of these alternate picking exercises. One important thing to remember while doing these exercises are that: even though alternate picking is strictly down and up picks, you can do whatever picking pattern you want, as long as you are picking every not. Because some picking patterns are more comfortable than others. Here is one basic alternate picking pattern that never fails to get the job done for practicing alternate picking. This is a chromatic exercise that allows your wrist to become limber and helps you to begin to build fluency. Before you start these exercises, do a warm up by twirling your wrists back and forth clockwise, and counter clockwise. Do this for approx. 5 minutes, then get into these exercises and use a metronome if possible. Practice each excerpt at a slow tempo. Ascending E-----------------------------------------1-2-3-4--- B---------------------------------1-2-3-4----------- G-------------------------1-2-3-4------------------- D-----------------1-2-3-4--------------------------- A---------1-2-3-4----------------------------------- E-1-2-3-4------------------------------------------- Descending E-4-3-2-1------------------------------------------ B---------4-3-2-1---------------------------------- G-----------------4-3-2-1-------------------------- D-------------------------4-3-2-1------------------ A----------------------------------4-3-2-1--------- E-------------------------------------------4-3-2-1 Here we are taking the same chromatic sequence and spreading it across the fret-board in a backwards horizontal like pattern. Ascending: E------------------------------------------9-8-7-6 B---------------------------------8-7-6-5--------- G-------------------------7-6-5-4----------------- D-----------------6-5-4-3------------------------- A---------5-4-3-2--------------------------------- E-4-3-2-1----------------------------------------- Descending: E-7-8-9-10--------------------------------------------------------- B----------8-9-10-11----------------------------------------------- G--------------------9-10-11-12------------------------------------ D-------------------------------10-11-12-13------------------------ A-------------------------------------------11-12-13-14------------ E-------------------------------------------------------12-13-14-15 One More Chromatic Excerpt that uses string skipping instead. Starting on G.
E------------------------B-----------------3-4-5-6G------------------------D---------3-4-5-6--------A------------------------E-3-4-5-6----------------Now ... Same Idea, But Descending in a backwards string skipping order.
E-6-5-4-3-----------------B-------------------------G---------6-5-4-3---------D-------------------------A------------------6-5-4-3E-------------------------After this, now we shall go and introduce triplets into our alternate picking hand. Why is this important? Because it trains our wrists to be able to play many different tuplets in alternate picking. It makes your picking more fluid and smooth once you learn to do two-five notes per string patterns. Here in this excerpt, we are starting on G, and outlining the G major scale in a triplet or sextuplet pattern (depending on the speed you play it at. This is a very movable shape, so you can play this shape anywhere 6th string root. Ascending E----------------------------------5-7-8 B----------------------------5-7-8------ G---------------------4-5-7------------- D--------------4-5-7-------------------- A-------3-5-7--------------------------- E-3-5-7--------------------------------- Descending: E-8-7-5---------------------------------- B-------8-7-5---------------------------- G--------------7-5-4--------------------- D---------------------7-5-4-------------- A----------------------------7-5-3------- E-----------------------------------7-5-3 Here is one more triplet pattern that is using the A Whole Tone scale in a triplet pattern on three notes per string.
E-------------------------------------10-12-13B-----------------------------9-11-13---------G---------------------8-10-12-----------------D--------------7-9-11-------------------------A-------6-8-10--------------------------------E-5-7-9---------------------------------------Here is a quintuplet chromatic pattern that is very similar to the first chromatic exercises that are shown. Starting on A.
E----------------------------------------------------------------------B----------------------------------------------------------------------G------------------------------------------------------------5---------D-----------------------------------5---------------5-6-7-8-----8-7-6-5A----------5---------------5-6-7-8----8-7-6-5-6-7-8--------------------E-5-6-7-8----8-7-6-5-6-7-8---------------------------------------------
E-----------------------------------------5---------------5-6-7-8B----------------5----------------5-6-7-8---8-7-6-5-6-7-8--------G--------5-6-7-8----8-7-6-5-6-7-8--------------------------------D-6-7-8----------------------------------------------------------A----------------------------------------------------------------E----------------------------------------------------------------Now to insert arpeggios. Alternate picking arpeggios is a very good way to further mature and strengthen your picking hand and wrist. Surprisingly, it also helps when you go to practice your sweeping shapes, and arpeggios. We will start with your basic Major, Minor, Diminished, Half Diminished and Dominant Shapes. Here is your A minor Shape: With E as the root, or tonic.
E--------------8-12-8-------------B-----------10--------10----------G---------9--------------9--------D------10------------------10-----A-7-12------------------------12-7E---------------------------------A Major Shape: with F# as the root (tonic). E--------------9-12-9------------- B-----------10--------10---------- G---------9--------------9-------- D------11------------------11----- A-9-12------------------------12-9 E--------------------------------- A Dominant. Over an arpeggiated A7 chord, this sounds very beautiful.
E-------------------12-15/17-15-12------------------B----------------13----------------13---------------G----------12-14----------------------14-12---------D-------14----------------------------------14------A-12-15----------------------------------------15-12E---------------------------------------------------A Minor 7th Flat 5 Arpeggio (Half Diminished): very unique sounding, and very jazzy.
E-------------------11-15/17-15-11-------------------B----------------13-----------------13---------------G----------12-14-----------------------14-12---------D-------13-----------------------------------13------A-12-15-----------------------------------------15-12E----------------------------------------------------A Diminished
E------------8-11-8-----------B---------10--------10--------G-------8--------------8------D----10------------------10---A-12------------------------12E-----------------------------A Augmented. Very odd and Dissonant sounding.
E-------------9-13-9------------B----------10---------10--------G-------10---------------10-----D----11---------------------11--A-12---------------------------12E--------------------------------This is the end of this session. I will post a second lesson shortly that covers more. I just want to see how this lesson does. Have fun! If this gets positive review, ill continue on with more lessons. Enjoy.

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"Iron man" by Black Sabbath guitar solo lesson with Chris Zoupa [classes]

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Every Musician Should Sing [Lessons]

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How Versatile Is Your Picking Hand? [Lessons]

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קורא tablature גיטרה נכונה [שיעורים]

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e - B-G-7r5-7r5-D-7r5-7r5-A-E-A ?????? ????? ????? ?? ??? ????? "/". ??? ???? ???? ?????? ?? 7 ??? ?????? ?? ????? ??????? ?? ???? ??? 9.
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e - B-G-5v-D-5 ~ ~ ~ ???? - - E-?? ???? ??? ????-?? ??? ??? ?? ????? ????? ?????. ???? ??? ?? ?????? ?? ???? ???? ?? ??? ?????.
e-----------------------------B-----------------------------G--5t---5t---5t---------------D-----------------------------A-----------------------------E-----------------------------Plain White T's - "1, 2, 3, 4" (Intro)
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המתכונים: "סריגה" גיטרה סולו שיעור עם כריס Zoupa [שיעורים]

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Hands And Brain [Lessons]

AppId is over the quota AppId is over the quota Vote1 - bad2345 - average678910 - greatWell hello there UG readers, today I am going to give hopefully a useful idea to inject into your warm-up. So first it is a constant picking pattern, a simple upstroke, followed by and upstroke, proceeding to a downstroke. So if I was to put this into a tab it looks something like this: Fig. 1
u u d |--------|--0-----|----0---|------0-|--------|--------Now why would I want to do something that simple because I am a complicated guitarist. But give that a chance with different rhythms. So do triplets, 8th notes and quarter notes at like 90bpm. We aren't looking to shred with this just yet. Now it helps a little with descending sweep runs with no repeat on the top Fig. 2
u u d|-8-12-8-----|--------10--|-----------9|------------|------------|------------I literally just thought of that so figured why not? Besides that the descending often needs more work than ascending. Moving on to the brain part of this now! I have seen it advocated that you should learn every scale by intervals along one string, and then do arpeggios and then you have internalized the intervals. Now what when we do have our scale intervals worked out on each string? Well now we are going to practice them in groups of 3 on each string. Your picking hand will retain the constant pattern while we go down the scales notes. Just hold the triads and let them ring out, you can work on muting later. At this point I really must encourage that you improvise the notes that go over your picking pattern. So here are 2 examples of what I might do. Fig. 3 - Major Scale PM if using distortion, trust me.
|----------------------------|-12----11----9---7---5---4--|---10----9----7---5---4---2-|-----12---10---9---7---5---3|----------------------------|----------------------------Well I locked onto like 3 shapes there, but that's just the sound that I like when going up and down, explore different shape patterns on different string sets. Now let's look at harmonic minor in Bb. Fig. 4
|------------------------------|-11----10-----7---6---4---2---|---11----10----8---6---3---2--|-----10----8----7---4---3---1-|------------------------------|------------------------------You could also just hold down a chord shape and search for extensions with your fingers, find inversions on the strings. If I wanted in D major and I wanted to get used to the major scale I could just do diatonic arpeggios. Fig. 5
|-------------------------------------------|-------------------------------------------|-2---4---6---7----9-----11----12----14-----|--4---5---7---9----11-----12----14-----16--|---5---7---9---10----12-----14----16-----17|-------------------------------------------This one is cool for getting to know new scales, going up the major and minor shapes on each string. That is all for today. Hope it helps your picking and visualization around your fretboard. Until next time. Keep rocking.

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