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The Sting Madness exercise shows all the possible picking patterns, including string switching. String madness is a great brute force exercise for training the muscles to do any picking pattern, but does not show the most efficient patterns. Since all 9,572,472 possible combinations are in the tables, no one cold possible explore then all. These exercises show the most efficient picking patterns in various situations.
For beginners, the only picking pattern to learn is alternate picking. Alternate picking follow a down-up down-up down-up… pattern no matter the context of the notes played. So, when playing a scale in G.
e-----------------------------o-2-3-
b-----------------------o-1-3-------
g-------------------o-2-------------
d-------------o-2-4-----------------
a-------o-2-3-----------------------
e-----3-----------------------------
The first note, g on the sixth string, is a down stroke (d), and then the second note, a on the fifth string, is a up stroke (u) even though the pitch has to cross over the string first. The full scale, with strokes notated above
Stroke d u d u d u
d u d u d u d u d
e------------------------------o-2-3-
b------------------------o-1-3-------
g--------------------o-2-------------
d--------------o-2-4-----------------
a--------o-2-3-----------------------
e------3-----------------------------
Beginners sometimes think that moving to the easiest stroke is a better way, but playing this way takes too much mental energy. An alternating picking pattern will gain speed over time, and takes little mental energy. If you are a beginner and have not mastered alternating picking, stop now and put this exercise away until alternating picking style is natural on perfectly on time with the metronome. Review the Learning Rhythms exercises for techniques to match the playing to the metronome.
As an introduction to learning new picking techniques, try alternating two down strokes and two upstrokes on two different strings.
Stroke d d u u d d
u u d d u u d d u u
e--------o---o---o---o---o---o---o---o-
b------o---o---o---o---o---o---o---o---
The pick moves through the strings on one motion with no need to lift the pick. Once the basic technique is on the metronome and comfortable on any two consecutive strings, experiment with variations of notes.
Stroke d d u u d d
u u d d u u d d u u
e--------o---2---o---3---2---2---o---2-
b------o---2---o---3---o---3---o---3---
Alternating picking can be cumbersome when picking through on multiple strings. An alternate style of picking is to always pick in the direction the next note will be.
When starting in the lower note, the basic two-string pattern is the same as alternating picking.
Stroke d u d u d u
d u d u d u d u d u
e--------o---o---o---o---o---o---o---o-
b------o---o---o---o---o---o---o---o---
However, the picking pattern reverses when starting on the upper note
Stroke u d u d u d
u d u d u d u d u d
e------o---o---o---o---o---o---o---o---
b--------o---o---o---o---o---o---o---o-
Playing an up stroke on a strong beat will be unnatural at first.
Unlike cross picking, this pattern works well when skipping strings
Stroke d u d u d u
d u d u d u d u d u
e--------o---o---o---o---o---o---o---o-
b--------------------------------------
g------o---o---o---o---o---o---o---o---
And even holds up with more complex patterns, as long as they hold some relationship to the original pattern.
Stroke d u d u d u
d u d u d u d u d u
e--------o---o-----------o---o---o---o-
b----------o-----o---o-o---o-----------
g------o-------o---o-----------o---o---
This pattern is known as Alberti bass, borrowed from piano playing, with the root followed by a broken arpeggio. Here shown in C.
Stroke d u d u
e--------------
b--------o---o-
g----------2---
a------3-------
e--------------
With a three-string arpeggiated pattern, play down strokes on the first two, like cross picking, then an upstroke on the third string.
Stroke d d u d d u
e----------o-----o-
b--------o-----o---
g------o-----o-----
“Here Comes the Sun” by the Beatles uses this technique.
The descending pattern uses an up-up-down pattern.
Stroke u u d u u d
e------o-----o-----
b--------o-----o---
g----------o-----o-
The three-string alternating pattern uses dduu
Stroke d d u u d d
u u
e----------o-------o---
b--------o---o---o---o-
g------o-------o-------
or uudd if starting at the top
Stroke u u d d u u
d d
e------o-------o-------
b--------o---o---o---o-
g----------o-------o---
When staring in the middle, use whatever stroke the note usually starts on
Stroke d u u d d u u
d
e--------o-------o-----
b------o---o---o---o---
g------------o-------o-
Practice these on all strings, with string skips, and with fretted notes.
The four-string pattern uses a down-down-down-up pattern ascending
Stroke d d d u d d
d u
e------------o-------o-
b----------o-------o---
g--------o-------o-----
d------o-------o-------
“Babe I’m Gonna Leave You” by Led Zeppelin uses this pattern (finger picked on the recording, but applicable here).
Descending
Stroke u u u d u u
u d
e------o-------o-------
b--------o-------o-----
g----------o-------o---
d------------o-------o-
And alternating
Stroke d d d u u
u d d d
u u u
e------------o-----------o-----
b----------o---o-------o---o---
g--------o-------o---o-------o-
d------o-----------o-----------
“Is There Anybody Out There” by Pink Floyd starts with this pattern and includes several patterns.
Stroke d d d d u
d d d d
u
e--------------o---------o-
b------------o---------o---
g----------o---------o-----
d--------o---------o-------
a------o---------o---------
Descending
Stroke u u u u d
u u u u
d
e------o---------o---------
b--------o---------o-------
g----------o---------o-----
d------------o---------o---
a--------------o---------o-
And alternating
Stroke d d d d u
u u u
d d d d
u u u u
e--------------o---------------o-------
b------------o---o-----------o---o-----
g----------o-------o-------o-------o---
d--------o-----------o---o-----------o-
a------o---------------o---------------
Stroke d d d d d u d d d
d d u
e----------------o-----------o-
b--------------o-----------o---
g------------o-----------o-----
d----------o-----------o-------
a--------o-----------o---------
e------o-----------o-----------
Descending
Stroke u u u u u d u u u
u u d
e------o-----------o-----------
b--------o-----------o---------
g----------o-----------o-------
d------------o-----------o-----
a--------------o-----------o---
e----------------o-----------o-
And alternating
Stroke d d d d d u u u
u u d d
d d d
u u u u
u
e----------------o-------------------o---------
b--------------o---o---------------o---o-------
g------------o-------o-----------o-------o-----
d----------o-----------o-------o-----------o---
a--------o---------------o---o---------------o-
e------o-------------------o-------------------
For more complicated patterns, just follow the rule tat the pick direction always goes in the direction of the note that comes next. The patterns are always just part so the patterns above mixed together. If the patterns are extremely complicated, just revert to alternating picking. If you are spending more time analyzing the picking pattern than learning the music, the efficiency patterns are no longer efficient, so just go with alternate style.
Sweep picking (sometimes called rakes) is a technique using one directional picking, similar to the arpeggiated picking. The main difference is that in sweep picking the notes are not allowed to ring, and just play one at a time. Because sweeps do not ring, often they do not include the open strings. A good first sweeping exercise is to play the following pattern, muting each string after playing be lifting the finger.
Stroke d d d d
e------------4-
b----------3---
g--------2-----
d------1-------
Notice that sweep picking is meant for speed, sweeps often do not use the up stroke on the last note.
Also work
Stroke d d d d
e------------1-
b----------2---
g--------3-----
d------4-------
Sweeps the other direction use all up strokes
Stroke u u u u u u u u
e------1-------4-------
b--------2-------3-----
g----------3-------2---
d------------4-------1-
Sweeps can also occur on the same fret on different strings, such as across barred chords. Practice sweeping both directions across a bar, muting with a combination of the right hand palm and lifting the left hand finger.
e------------5-
b----------5---
g--------5-----
d------5-------
a----5---------
e--5-----------
e--5-----------
b----5---------
g------5-------
d--------5-----
a----------5---
e------------5-
Sweeps often couple with hammers and pulls to produce more notes. The following patterns base off the pentatonic scale. All of these stings start with a down stroke
e---------------------------5-h8-
b----------------------5-h8------
g-----------------5-h7-----------
d------------5-h7----------------
a-------5-h7---------------------
e--5-h8--------------------------
And all of these strings start with an up stroke
e--8-p5--------------------------
b-------8-p5---------------------
g------------7-p5----------------
d-----------------7-p5-----------
a----------------------7-p5------
e---------------------------8-p5-
Adding another hammer or pull fills in the scale notes.
e------------------------------------------5-h7-h8-
b----------------------------------5-h6-h8---------
g--------------------------5-h6-h7-----------------
d------------------5-h7-h9-------------------------
a----------5-h7-h8---------------------------------
e--5-h7-h8-----------------------------------------
And all of these sweeps start with an up stroke.
e--8-p7-p5-----------------------------------------
b----------8-p6-p5---------------------------------
g------------------7-p6-p5-------------------------
d--------------------------9-p7-p5-----------------
a----------------------------------8-p7-p5---------
e------------------------------------------8-p7-p5-
Note that this is just the modal pattern with an extra note thrown in to make it an efficiency scale. See the Scales Explanation section for the added notes in the other modes.
Any of the three note efficiency scales could be played in this manner, with all down strokes ascending
e-----------------------------------------2-h3-h5-
b---------------------------------1-h3-h5---------
g-------------------------o-h2-h4-----------------
d-----------------o-h2-h4-------------------------
a---------o-h2-h3---------------------------------
e-o-h2-h3-----------------------------------------
And all up strokes descending
e-5-p3-p2-----------------------------------------
g---------5-p3-p1---------------------------------
b-----------------4-p2-po-------------------------
d-------------------------4-p2-po-----------------
a---------------------------------3-p2-po---------
e-----------------------------------------3-p2-po-
Experts in sweep picking can move up the fretboard, such as in this challenging pattern based on the octatonic scale with lots of finger stretching.
e----------------------------8-h12-
b----------------------7-h11-------
g----------------5-h10-------------
d-----------4-h8-------------------
a------3-h7------------------------
e-2-h6-----------------------------
The hammers and pulls are great for producing speedy runs, but a truly shredded sound requires picking. Three-note efficiency picking uses a down-up-down down-up-down down-up-down… pattern ascending
d u d d u d d u d d u d d
u d d u d
e-------------------------------5-7-8-
b-------------------------5-7-8-------
g-------------------4-5-7-------------
d-------------4-5-7-------------------
a-------3-5-7-------------------------
e-3-5-7-------------------------------
and an up-down-up pattern ascending
u d u u d u u d u u d u u
d u u d u
e-8-7-5-------------------------------
g-------8-7-5-------------------------
b-------------7-5-4-------------------
d-------------------7-5-4-------------
a-------------------------7-5-3-------
e-------------------------------7-5-3-
These patterns allow for minimum pick movement with runs of three notes per string. This picking pattern also applies to the modal scales with chromatic additions.
d u d d u d d u d d u d d
u d d u d
e-------------------------------3-5-7-
b-------------------------3-5-7-------
g-------------------4-5-6-------------
d-------------4-5-7-------------------
a-------3-5-7-------------------------
e-3-5-7-------------------------------
u d u u d u u d u u d u u
d u u d u
e-7-5-3-------------------------------
b-------7-5-3-------------------------
g-------------6-5-4-------------------
d-------------------7-5-4-------------
a-------------------------7-5-3-------
e-------------------------------7-5-3-
The textbook method of learning to play guitar is to start with slow, simple patterns and then gradually build the tempo and complexity. This method works great for most purposes, but players who rely solely on this method will never achieve lightning fast picked runs, or shredding. The wrist motion for extremely fast runs is minimal, and best achieved through use of tremolo picking.
To learn to shred, first start by shaking the right hand, down and up picking across an entire chord as fast as possible. Do not worry of the notes sound clean or nice or if you are going to break strings, just work on the speed of the tremolo across a large distance. After a while the up and down fast motion will click into place and become natural. This is chordal tremolo picking, often used at the end of a rock song to produce a wall of sound.
Single string tremolo picking takes more control. Gradually reduce the size of the tremolo until only one string engages. Tremolo picking tends to be easier up the neck than in open position to start out.
Once the tremolo locks in, try keeping the tremolo going while fingering different notes on the string. This type of tremolo melody is popular in mandolin music, and is featured in the song “Knights of Cydonia” by Muse.
At this point, the tremolo is nice and fast, but the left hand can probably not keep up.
Try playing in groups of four (16th notes) in patterns such as.
e—7-7-7-7-9-9-9-9-10-10-10-10-9-9-9-9-7-7-7-7-
Once groups of four are clean, work in string switches
e--7-7-7-7-9-9-9-9-10-10-10-10-----------------------------
b------------------------------7-7-7-7-9-9-9-9-10-10-10-10-
Then try groups of three
e--7-7-7-9-9-9-10-10-10----------------------
b-----------------------7-7-7-9-9-9-10-10-10-
Then two
e--7-7-9-9-10-10---------------
b----------------7-7-9-9-10-10-
When doubled notes
are clean, choose one of the moveable three note patterns to begin the
transition to scales. A good place to start is
g--1-2-4-1-2-4-
Practice until the
pattern repeated quickly is clean and relaxed. Then experiment with playing the
notes in different orders.
g--2-4-1-2-4-1-
g--4-1-2-4-1-2-
g--1-4-2-1-4-2-
g--4-2-1-4-2-1-
g--2-1-4-2-1-4-
Then with string
switching
g--1-2-4-1-2-4-------------
d--------------1-2-4-1-2-4-
Or with repeated
notes in groups of four.
g--1-2-4-2-1-2-4-2-
g--1-4-2-4-1-4-2-4-
g--1-2-1-4-1-2-1-4-
g--1-4-1-2-1-4-1-2-
g--2-1-4-1-2-1-4-1-
g--2-4-1-4-2-4-1-4-
g--2-1-2-4-2-1-2-4-
g--2-4-2-1-2-4-2-1-
g--4-1-2-1-4-1-2-1-
g--4-2-1-2-5-2-1-2-
g--4-1-4-2-6-1-4-2-
g--4-2-4-1-7-2-4-1-
Then work in the
other three note patterns, each with the same alternate patterns as the first
group.
Moveable Three
Note Patterns
g--1-2-3-3-2-1-
g--1-2-4-4-2-1-
g--1-3-4-4-3-1-
g--2-3-4-4-3-2-
Moveable Three
Note Patterns with Stretches
finger
1-2-3-3-2-1-
g------1-3-4-4-3-1-
finger
1-2-4-4-2-1-
g------1-3-5-5-3-1-
finger
1-2-4-4-2-1-
g------1-2-5-5-2-1-
finger
1-2-4-4-2-1-
g------1-3-6-6-3-o-
Then try matching these patterns to the efficiency scales and the modal scales with chromatic additions.
At this point the shredded runs are nice and fast and the slower runs are nice and clean, but a gap between slow and fast is still awkward. Gradually adjust the slow playing style to incorporate the fast picking style, and also gradually slow down the fast picking style until they meet somewhere in the middle.
Just as with hammers, pulls, and two hand tapping, these techniques designed to increase speed can be impressive, but quickly wear thin and become boring to the listener. Avoid musical diarrhea-fast and runny with no substance. The purpose of music is to emote, so if a fast run helps express emotion, then use it. Otherwise use whatever technique expresses the aesthetic best.
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