Guide Overview
Fundamentals (Levels 1-3)
Advanced Techniques
Level 1: Fundamentals - Getting Started Right
How to Hold the Pick
Basic Grip Setup:
- Pick placement: Rest pick on the side pad of your index finger (not the fingertip)
- Thumb position: Place thumb on top of pick, covering about half of it
- Angle: The pick should not be angled excessively side-to-side—aim for a neutral, centered position unless slanting is intentional
- Pressure: Firm enough that pick won't slip, loose enough to allow flexibility
Visual Check:
- Look at your hand from the side - you should see about 2-3mm of pick extending beyond your fingers
- From above, the pick should appear centered between thumb and finger
- No white knuckles or excessive tension visible
Common Beginner Mistakes:
- ❌ Holding pick with fingertip instead of finger pad
- ❌ Gripping too tightly (causes fatigue and poor tone)
- ❌ Too much pick exposed (reduces control)
- ❌ Pick angled incorrectly (causes string catching)
Basic Hand Position
Where to Position Your Hand:
- Bridge area: Rest the heel of your palm lightly on the bridge/saddles
- Pick angle: Hold the pick at a slight angle so the edge (not the flat face) makes first contact with the string. Think of two scenarios: Flat pick attack = the full face hits the string directly vs. Angled pick attack = the pick contacts the string like a knife slicing at an angle. The angled approach reduces resistance and improves tone
- Wrist position: Slight arch - not completely flat, not extremely bent
- Arm position: Let your arm hang naturally from your shoulder
The "Neutral" Starting Position:
- Hand positioned over the area between the bridge pickup and bridge
- Wrist has a gentle curve (like holding a small ball)
- Pick contacts strings at roughly 90-degree angle
- Relaxed but stable - no excessive tension anywhere
Understanding Edge Picking:
When you hold the pick at a slight angle, you're not hitting the string with the flat face of the pick. Instead, the pick's edge (the leading edge that hits the string first) makes first contact.
First Picking Motions
Single String Practice:
- Start on the low E string (6th string)
- Use only downstrokes initially
- Motion comes from your wrist, not your whole arm
- Think "flicking" the string rather than "stabbing" it
The Motion:
- Small wrist movement - like gently shaking water off your hand
- Pick should "brush" through the string, not get stuck
- Return to starting position after each stroke
- Keep the motion consistent and relaxed
Why Picks Get "Trapped" (Even on Single Strings):
Even when playing single strings, many beginners struggle with the pick feeling "stuck" or resistant. This happens because:
- Excessive follow-through: Pick travels too far past the string
- Poor return path: Pick has to fight back through the string for the next stroke
The solution: Small, efficient motions where the pick naturally "escapes" past the string after each stroke. This concept becomes crucial as you progress to faster playing and string crossing.
Practice Pattern:
Level 2: Building Motion - Alternate Picking Basics
Adding Upstrokes
Understanding the Motion:
- Downstroke: Wrist moves down, pick travels toward the floor
- Upstroke: Wrist moves up, pick travels toward the ceiling
- Both motions should feel equally easy and natural
The Key Insight:
Most beginners think picking is "up and down" - but it's actually side-to-side wrist motion. Your wrist tilts slightly left and right (radial/ulnar deviation), which creates the up/down pick movement.
Combining Down and Up
The Alternate Pattern:
Critical Points:
- Keep the motion small and efficient
- Don't lift your hand away from the strings between strokes
- Both strokes should sound equally loud and clear
- If one direction sounds weak, practice that direction alone
Level 3: String Crossing - The Real Challenge
Moving Between Strings
Why String Crossing Matters:
This is where most players struggle. Moving the pick cleanly from one string to another requires understanding pick escape mechanics.
Basic String Crossing:
Understanding Pick Escape
What is Pick Escape?
After you play a note, the pick needs to "escape" past the string to prepare for the next stroke. There are three ways this can happen:
- Upstroke Escape: Pick naturally clears strings after upstrokes
- Downstroke Escape: Pick naturally clears strings after downstrokes
- Double Escape: Pick can clear in both directions (also known as DBX - not covered here. Another Troy Grady term.)
Level 4: Pick Slanting
Introduction to Pick Slanting
What is Pick Slanting?
Instead of holding the pick perfectly flat against the strings, you angle it slightly. This builds on the pick escape concept from Level 1 - slanting helps the pick naturally escape past the string for both single-string playing and string crossing. The key is knowing which way to slant depending on your next move.
How to Describe It (Using Pick Tip Direction)
- Pick tip: The pointed end of the pick that you use to strike the strings
- String plane: The flat surface formed by all the guitar strings together
Downward Pick Slanting (DWPS)
The pick tip points slightly toward the low string side of the guitar (where the thickest strings are).
Visual tip: Looking down at your picking hand, the pick tip points slightly toward you.
- Upstrokes escape above the string plane
- Downstrokes stay trapped between strings
- Great for phrases that change strings after an upstroke
Upward Pick Slanting (UWPS)
The pick tip points slightly toward the high string side of the guitar (where the thinnest strings are).
Visual tip: Looking down at your picking hand, the pick tip points slightly away from you.
- Downstrokes escape above the string plane
- Upstrokes stay trapped between strings
- Great for phrases that change strings after a downstroke
The Logic Behind Pick Slanting
Remember: Each slanting technique makes one stroke type escape cleanly while the other stays trapped.
Other Picking Techniques
Beyond Alternate Picking
While this guide focuses on alternate picking (strict down-up-down-up), there are other picking approaches that use the same fundamental mechanics we've covered. Once you master alternate picking and pick slanting, these techniques become much easier to understand.
Economy Picking
What it is:
Economy picking still uses alternate picking on the same string, but when changing strings, it continues in the same direction instead of forcing strict alternation. When moving to a higher-pitched string (toward your body), use downward motion. When moving to a lower-pitched string (away from your body), use upward motion.
Example Pattern:
| String sequence: | Low E | → | A | → | D | → | G |
| Alternate picking: | ↓ | | | ↑ ↓ | | | ↑ ↓ | | | ↑ |
| Economy picking: | ↓ | | | ↓ ↑ | | | ↓ ↑ | | | ↓ |
Different from alternate picking: Economy picking avoids the escape challenges of strict alternation by following the natural direction of string crossing, making it more efficient for certain passages.
Sweep Picking
What it is:
Sweep picking involves playing one note per string while "sweeping" the pick across multiple strings in the same direction. Common in arpeggios and chord-based passages.
Example Pattern:
| 5-string arpeggio: | Low E | → | A | → | D | → | G | → | B |
| Pick pattern: | ↓ | ↓ | ↓ | ↓ | ↓ | ||||
| Return sweep: | B | → | G | → | D | → | A | → | Low E |
| Pick pattern: | ↑ | ↑ | ↑ | ↑ | ↑ |
Different from alternate picking: Sweep picking is essentially the economy motion applied across multiple strings - one continuous motion in the same direction, creating a smooth "sweeping" effect that eliminates escape challenges entirely.
Key Insight:
While alternate picking requires mastering pick escape and slanting techniques, economy picking and sweep picking actually avoid these challenges by following natural motion paths. Understanding alternate picking first gives you the foundation to appreciate why these alternative techniques can be more efficient for certain musical passages.
Key Principles to Remember
Core Fundamentals
- Technique serves music
- Consistency beats speed
- Small motions are efficient
- Wrist deviation is primary
Practice Guidelines
- Practice slowly and deliberately
- Record yourself regularly
- Rest and recovery matter
- Coordinate with fretting hand
Progressive Practice Plan
Week 1-2: Foundations
Master pick grip and basic hand position. Develop clean downstrokes and upstrokes. Focus: Tone quality and relaxation.
Week 3-4: Basic Alternating
Combine down-up motions smoothly. Practice on single strings until automatic. Focus: Consistency and timing.
Week 5-8: String Crossing
Learn basic string crossing principles. Understand upstroke escape concepts. Focus: Clean transitions between strings.
Player Examples by Technique
Strict Alternate Picking
Paul Gilbert, John Petrucci
Downward Pick Slanting (DWPS)
Yngwie Malmsteen, Al Di Meola
Upward Pick Slanting (UWPS)
Steve Morse, Shawn Lane
Double Escape (DBX)
Andy Wood, Molly Miller, many jazz players
Another Troy Grady term - not covered here
Remember
The goal is to develop a picking technique that allows you to express your musical ideas clearly and efficiently, without strain or limitation. Master the fundamentals first, then gradually add complexity as needed for your musical goals.