Guitar Techniques for Picking and Fingerings

[Reg]

Going to try and show and explain how I approached developing techniques of picking and fingerings for performing Jazz... and guitar in general.

Try and keep it simple, just working on these two skills and how to start and develop these skills to performance levels. No tricks or magic... and I'll try and posts as many vids as needed.

Would be great if others would also post examples and how they developed these skills. There are always different approaches that also work. But that's the point, getting to a skill level that works.

I'll also check out any vids and make suggestions that should improve your technique. I'm not looking to teach what to play, more in the direction of how to play, at least with respect to Picking and Fingerings.

So I organize my playings skills by developing basic starting or default starting points. These are my ground zeros... I don't need to think, their instinctive. They're where I start from, I then create relationships with and from them for development.

Example... I use the basic seven position fingerings based on 6th string roots. Using Gmaj as reference, I use fingerings built from each note of that Gmaj, Ionian scale working my way up the fretboard. Start with strict alternate picking, down up etc. This becomes your basic reference, very neutral phrasing and articulations... no accents except that basic down up or strong weak feel.

This basic starting reference, of Major Scale built on 6th string and scales built on each scale degree, generally called Modes with Guitarist, moving up the fretboard using the 6th string as reference becomes the basic starting point for everything else... scales, arpeggios, chords etc...

I know this is very basic and most already have this together... but this needs to become internal, instinctive to the point of like walking, you just do it and adapt for different locations. So you need this scale organization to make your fretboard become a large Grid. The example is Gmaj and scales built from G maj scale degrees.

If I said play A-7 dorian or 2nd degree of Gmaj. That same grid of your fretboard needs to now change to reflect A-7 Dorian as the target, not Gmaj. Same notes, different organization and guidelines for the notes etc... And of course this concept of fretboard being one large grid... is moveable, you can transpose or move as needed. Move that A-7 dorian up a half step or one fret... now your reference tonal target becomes Bb-7 dorian. You need to be able to play anything anywhere on the fretboard, this approach of organization using movable positions... movable Grids works easily, both mentally and physically, very easy to see or envision and hear as well. It's mechanical, you don't have to figure anything out once you get it down.

[MarkRhodes]

Thanks for doing this, Reg!

[destinytot]

Thank you, Reg!

[Pocket Player]

Thank you Reg ! looking fwd to how you want us to practice the material.

[ecj]

Looking forward to this thread!

[edh]

@Pocket Player, I believe he wants us to be alternate picking.

Thanks Reg, looking forward to follow up lessons.

edh

[Reg]

Hey... Thanks and sorry about getting together so very slowly. Ill get a vid up late tonight, after gig. With some suggested practice approaches, how to work with alternate picking and basic Maj/Min... scales, arpeggios and patterns to help create a grid out of the fretboard.

Also some basic warmup exercises using those 1 2 3 4 finger patterns, some call them spider patterns. I think it's pretty straight ahead material... and hopefully seeing my hand will help.

Part of the process is to adapt the material and approaches to yourself... work on where your weak etc... and also excel where your strong.

Should be pretty fun, once we get going. Make me post more vids, that is probable more useful than all my BS.

[destinytot]

I really like how you use the (strong) 2nd finger for most of the roots. Thank you!
(I'm off for some fresh air... and then I'm going to use this to get to work on Barry Harris's sixth-diminished scales.)

[Pocket Player]

Its be really awesome to some of the information in the other picking thread moved over here In my video i posted me doing the chromatic 1234,4321 and do that warm up most days .

i know you posted a ARP example at the other thread but said ,Dont pay to much attention to it. lol
I guess my question is how do i practice my arps with a similar routine. i see 1 thing is to apply the 24 perms, to the picking them across the 4 strings(like a arp) and i will do that for sure as i Now move on to all the other permutations. or should i spider the pattern's across all the strings? not just the bottom 4. What eltse can i do?? And im really sorry i don't read music to to well,YET !! it's in the works. but tab with your examples makes such a huge difference.so im not sure im reading you arp example correctly.. Your help is sooo appreciated... last summer i Blew my guitar teacher away with the progress i made during the summer..... With that chromatic work i did every day for 2 months He now expect the same thing lol lol How ??? do i make another huge leap like that in 2 months??? with daily practice of course. im sort of thinking... the other perm's will do this alone.... but i really want to take another huge leap... Where to go next. before we really did into the making of music lol as im sure i have a few good question lol thanks again Reg

[Rhoderick]

Hello Reg and Thank you.





Music is the key that can open strange rooms in the house of memory.
Llewelyn Wyn Griffith

[MarkRhodes]

I have a general question about fingering exercises. It came from something Corey Christiansen said in a book (-maybe an online article / lesson) about such exercises as 1234. If you play them on each string from low to high, he said you should play them back the same way, that is, 1234 from high to low. I have tended to go 1234 (-or whatever the pattern is) on the way up and the reverse, 4321, on the way down.

But today I thought, "You know, I tend to screw up more coming back than going up and it is NOT because of my picking--the picking is the same--but because I'm not as fast with fingers in reverse order!"

So if you are doing, say, 1234 (or any new pattern) on all six strings (-or just the top three, whatever), should you return the same way and then do the opposite (4321) from low to high and come back? I think I sometimes suspect my picking of letting me down when I just haven't got my fingering down on something. Ideally, one would want to play at the same speed in both directions but to get there, it may be best to treat the reverse (or less familiar) order as a separate exercise that starts slower?

[matt.guitarteacher]

I have a general question about fingering exercises. It came from something Corey Christiansen said in a book (-maybe an online article / lesson) about such exercises as 1234. If you play them on each string from low to high, he said you should play them back the same way, that is, 1234 from high to low. I have tended to go 1234 (-or whatever the pattern is) on the way up and the reverse, 4321, on the way down.

But today I thought, "You know, I tend to screw up more coming back than going up and it is NOT because of my picking--the picking is the same--but because I'm not as fast with fingers in reverse order!"

So if you are doing, say, 1234 (or any new pattern) on all six strings (-or just the top three, whatever), should you return the same way and then do the opposite (4321) from low to high and come back? I think I sometimes suspect my picking of letting me down when I just haven't got my fingering down on something. Ideally, one would want to play at the same speed in both directions but to get there, it may be best to treat the reverse (or less familiar) order as a separate exercise that starts slower?

Mark, like you, I've also found it really interesting that I'm a good bit slower with a 1-3-2-4 than the 12-3-4 etc. I'm not the one to answer this question, but personally, I've found a lot of value recently in doing it the way you're describing (not flipping it). I think flipping on the way down is more of a musical consideration and has always been something I've naturally assumed was to be done. Bert Ligon kind of got me off that with his Cyclical Quadruplets, kind of like Diatonic Enclosures 101. The melodic sequences are like 1-2-3-1, and then up the scale, but descending, they don't flip.

I found that I was just terrible descending because I had always flipped it coming down. Anyway, they're great for finding your way around new scales (for me lately, it's been filling in some additional MM fingerings). I actually found that I was playing the MM stuff better this way than the old Major stuff because I had more thoroughly worked through the problem spots (2-nps resulting in funky string crossings). Had to kind of go back and get them feeling as good as the MM's. Found that really interesting.

If you're targeting 1, the CQ's would be 1-6-7-1, 1-7-6-1, 1-3-2-1, 1-2-3-1. All sequenced up and down the scale without changing. Really easy to change directions as well because there's no issue at the top or bottom of the scale.

[Pocket Player]

you are correct mark. you are suppose to come back down the string with the same pattern. i did the 4321 because at the time of learning it was easyer to track my hands,getting started. moving fwd with the perm's im using the same fingering both directions.

[PMB]

Why not combine them? Here's my take on the exercise:

[Reg]

It's all good... but if your trying to follow my concept... everything is isolated. A pattern is the same up and down.
1 2 3 4 from low to high E and the same back down.

4 3 2 1 is a different exercise.

How do you group the patterns... usually just one group a practice, almost kind of a warm up.

1 2 3 4
1 3 4 2
1 4 2 3 starting with 1st finger as a group, then 2nd etc...

It also works to use the top 4 patterns as a group, all similar direction of fingerings different picking,
1 2 3 4
2 3 4 1
3 4 1 2
4 1 2 3

So another warm up that helps picking and fingerings... from arpeggios,

1) Play two octaves of Gmaj scale... 2nd position with 1st finger stretches

2) Play two octaves, from low "E" string to high "E" string as always... Triads
Gmaj same position and fingerings. Straight alternate picking

G B D G B D G D / B G D B ....
2 1 4 4 3 2 2 2 / 3 4 4 1

3) Then diatonic 7th chords arpeggios
Gmaj7 I have a PDF see below

4) Then Diatonic 9th chord arpeggios... I'll make a PDF, also of triads.

5) 13th chords or complete arpeggios... see PDF below

I'll post a Vid later tonight of playing them and how triplets can change picking, and add the PDFs.

[PMB]

I agree with isolating each idea Reg. I certainly start out that way but once a digital pattern is secure, I like to take that pattern/concept and play around with it. It's a mix of curiosity, boredom and a desire to find out where any weaknesses might lie. And yeah, I tended at first to work with each group of four as they follow the same sequence in rotation. The order of each group reflects the degree of difficulty: 1-2-3-4 is a simple consecutive pattern, the 1-3-2-4 group has a jump in the sequence and is therefore slightly more challenging whereas the final group has both a jump and a change of direction.

The next stage for this particular exercise (besides running it across consecutive strings and varying picking patterns) might be to compress each rotational group into one position as per this clip I came across the other day:

[MarkRhodes]

It's all good... but if your trying to follow my concept... everything is isolated. A pattern is the same up and down.
1 2 3 4 from low to high E and the same back down.

4 3 2 1 is a different exercise.

Thanks, Reg. That makes sense. I played some just now and this made a lot of difference. As you say, each way is its own pattern. I'm glad I asked about this!

[MarkRhodes]

Mark, like you, I've also found it really interesting that I'm a good bit slower with a 1-3-2-4 than the 12-3-4 etc. I'm not the one to answer this question, but personally, I've found a lot of value recently in doing it the way you're describing (not flipping it). I think flipping on the way down is more of a musical consideration and has always been something I've naturally assumed was to be done. Bert Ligon kind of got me off that with his Cyclical Quadruplets, kind of like Diatonic Enclosures 101. The melodic sequences are like 1-2-3-1, and then up the scale, but descending, they don't flip.

I'll have to work on that 'cyclical quadruplets'. (That phrase is a new one on me.) I was doing something like that recently for the Jimmy Bruno---various permutations of thirds but I was always flipping them on the descent.
In general, I've had this problem with lots of exercises. What comes to mind is a Mickey Baker G diminished run in his first book. It took me a little while to get it down but as soon as I did, I thought I should be able to play it descending as fast as I had played it descending, but---duh!---I had already played it a lot ascending and never really isolated the descending version as a pattern to be learned. I thought my picking was the problem but it wasn't that at all. I should tattoo on the back of my hand: "It's not always a picking problem!" ;o)

[destinytot]

I agree with isolating each idea Reg. I certainly start out that way but once a digital pattern is secure, I like to take that pattern/concept and play around with it. It's a mix of curiosity, boredom and a desire to find out where any weaknesses might lie. And yeah, I tended at first to work with each group of four as they follow the same sequence in rotation. The order of each group reflects the degree of difficulty: 1-2-3-4 is a simple consecutive pattern, the 1-3-2-4 group has a jump in the sequence and is therefore slightly more challenging whereas the final group has both a jump and a change of direction.

The next stage for this particular exercise (besides running it across consecutive strings and varying picking patterns) might be to compress each rotational group into one position as per this clip I came across the other day:

Excellent - thank you!

[destinytot]

It's all good... but if your trying to follow my concept... everything is isolated. A pattern is the same up and down.
1 2 3 4 from low to high E and the same back down.

4 3 2 1 is a different exercise.

How do you group the patterns... usually just one group a practice, almost kind of a warm up.

1 2 3 4
1 3 4 2
1 4 2 3 starting with 1st finger as a group, then 2nd etc...

It also works to use the top 4 patterns as a group, all similar direction of fingerings different picking,
1 2 3 4
2 3 4 1
3 4 1 2
4 1 2 3

So another warm up that helps picking and fingerings... from arpeggios,

1) Play two octaves of Gmaj scale... 2nd position with 1st finger stretches

2) Play two octaves, from low "E" string to high "E" string as always... Triads
Gmaj same position and fingerings. Straight alternate picking

G B D G B D G D / B G D B ....
2 1 4 4 3 2 2 2 / 3 4 4 1

3) Then diatonic 7th chords arpeggios
Gmaj7 I have a PDF see below

4) Then Diatonic 9th chord arpeggios... I'll make a PDF, also of triads.

5) 13th chords or complete arpeggios... see PDF below

I'll post a Vid later tonight of playing them and how triplets can change picking, and add the PDFs.

Thanks, Reg - I'm SO looking forward to your video.

[Reg]

Anyway may work... but I believe the spider or 1 2 3 4 exercises should be just practices up and down individually.

They're not for performance, their just the first step of a process. Just develop one fingering, the same fingering up and down and eventually when you'll get to using 4 strings, the picking becomes even more difficult and important.

As always when working on technique, I believe the isolation approach works best.

Your not trying to perform the exercises... they sound like shit... even at fast tempos. If you get to the point that you can play without thinking about... move on. The goal is to get to crossing strings... the single string patterns are not what your after, their a means to being able to work on crossing strings... picking. Paul's ideas may work... but they're a different approach... you don't want to get to the stage where your an expert playing the exercises and combinations as the vid of Nick... maybe after you finish the process... but generally once you get to the cross or four string patterns... you'll be done with the individual strings. You'll have developed the techniques... Your going to always be fighting the clock, try and keep a perspective of where your going... don't get stuck on the road.

The point of all these exercises is designed to improve technique... it's not the process or journey, you want to get through them as fast as possible. None of this BS is ever going to help you become creative and a good performer. But it will help you develop good guitar technique which may give you the chance to perform and play jazz.

[matt.guitarteacher]

Your going to always be fighting the clock, try and keep a perspective of where your going... don't get stuck on the road.

Good stuff. Probably should be posted on the music stand.

[destinytot]

What fingerings do people use for pentatonic and blues scales?

[Pocket Player]

Just started working with the new permutations. the same way i do in my video. It took on a whole new level of hardness lol had a great practice session so far this morning.... Destinytot what scale system do you use? caged(5 pos), 7 pos, or 12,14 Reg posted the 7. i personally use the Caged but I understand the 7 position system. The fingerings would depend on the system you've committed to learning. is that the question your asking? all my fingerings and pattern's fit right on top on the other patterns. and im sure Reg has those pdf's if you need them i too will be working with the 7 pos to stay in touch with all reg's teaching.and to fill in the 2 scales, removed form the 5 pos system And lol its a great system they both are.

[matt.guitarteacher]

They're not for performance, their just the first step of a process. Just develop one fingering, the same fingering up and down and eventually when you'll get to using 4 strings, the picking becomes even more difficult and important.

As always when working on technique, I believe the isolation approach works best.

Your not trying to perform the exercises... they sound like shit... even at fast tempos. If you get to the point that you can play without thinking about... move on. The goal is to get to crossing strings... the single string patterns are not what your after, their a means to being able to work on crossing strings... picking. Paul's ideas may work... but they're a different approach... you don't want to get to the stage where your an expert playing the exercises and combinations as the vid of Nick... maybe after you finish the process... but generally once you get to the cross or four string patterns... you'll be done with the individual strings. You'll have developed the techniques... Your going to always be fighting the clock, try and keep a perspective of where your going... don't get stuck on the road.

The point of all these exercises is designed to improve technique... it's not the process or journey, you want to get through them as fast as possible. None of this BS is ever going to help you become creative and a good performer. But it will help you develop good guitar technique which may give you the chance to perform and play jazz.

It's interesting that there always seems to be a call to justify working on technique in isolation to some degree. I thought the following excerpts were particularly apt for the topic at hand. It's from Bert Ligon, who is neither known as a "scale guy" nor a "just transcribe and learn tunes" guy. It actually sounds very Reg to me:

"Part of a musician's development is the building of technique necessary to execute musical ideas.."

"..Playing music will develop some musical technique. However, learning to play certain things before hand gives the musician a better chance at creating a musical performance that transcends the technical difficulties of the piece. A major part of what we practice as musicians is control. This is no different from an athlete mastering the control of a backhand return, a curve ball..."

"...To master any sport, athletes, their coaches, and trainers break the event into smaller manageable drills to master individually before putting them all together. Drills imply repetition of singular concepts or motions until they become second nature. When we see an athlete or musician and speak of how natural they are, we are seeing the result of hours of practice and drill in order for it to appear natural..." - from the introduction to Bert Ligon's Comprehensive Technique for Jazz Musicians