Copyright 2011 C E Martin Publishing *all rights reserved*

INTRODUCTION: Please Read:

Hi and Welcome!
My name is Clifford Martin, thank you for downloading this free
alternate picking e-book.
This book is a simple technique guide only. I am in no way trying to
Preach in my approach to this book. My only aim is to impart subtle and sometimes
hidden information. These concepts are really a guide for those who are stuck or who
are unsure of what is involved regarding the physical elements required for the
alternate picking method of the guitar.







Thanks and Enjoy,

Clifford Martin 2011

Copyright 2011 c Clifford Earle Martin *All RightS Reserved* Uk/Euro/USA

















TABLE OF CONTENTS:


PAGE 1.WHAT IS ALTERNATE PICKING

PAGE 2.HOLDING THE PLECTRUM

PAGE 4..PLECTRUM GRIP

PAGE 5..VARIOUS OTHER PLECTRUM GRIPS

PAGE 6..WHAT IS HAPPENING WHEN WE PICK?

PAGE 7..A WORD FROM THE PROS

PAGE 8...STRAIGHT LINE THEORY

PAGE 9...STRING ALIGNMENT

PAGE 11..ALIGNMENT EXERCISE

PAGE 12.AVOID!

PAGE 13..FLAOTING/ANCHORING..

PAGE 14..ANGLING PLECTRUM

PAGE 15..METRENOME

PAGE 16..IN CONCLUSION



























What is Alternate Picking?




Alternate picking is a strict Up and Down Picking Movement as opposed to a
hammering on and pulling off technique. We do this by employing a relaxed wrist
motion. [But NEVER do we pick from a tensed elbow!]. We sometimes use a floating
motion across the strings and sometimes a pivoting or anchoring technique by resting
our palm lightly on the bridge of the guitar. The exercise below demonstrates the
basic Down Up and Up Down Strict alternate picking movement.

DOWN STROKE UPSTROKE




EX.1
Down Up etc. Up Down etc.








1











HOLDING THE PLECTRUM



When Holding the pick [plectrum] the thumb needs to be RIGID but NOT tense
[Flexible is the best definition]. There must be NO tension in the hand either. [ With a
loose thumb it is easy to drop the pick or loose fluidity.]

Ex.2 Simple exercise for holding the Pick:



Put out your hand as if to shake hands



Bring the fingers in as if to hold a cup



Bring down the thumb. It can remain Flexible but not wobbly and helpless.





2










Inside of plectrum grip. [Fingers Lightly Folded In]





Basic Grip with the THUMB as the Powerhouse [The power comes from the thumb].




Ready to Play! Although the thumb is gripping the plectrum firmly there is NO tension.
Also the wrist, hand and forearm are ALWAYS Relaxed












3





PLECTRUM GRIP



The Classic Plectrum Grip

Although the hand is closed it is NOT Tensed in any way. The fingers just tuck in
Lightly. This is the most common or Classic grip and is a really excellent grip if you
are having problems with your picking hand . This is the grip as used by the great
improvisers like John Mclauhglin, Shawn Lane, Guthrie Govan, Robert Fripp and Al Di
Meola.



Classic Plectrum Grip

With a loose thumb it is impossible to gauge distances as you will aim to
pluck the string and then suddenly change the distance as you bend the
thumb to actually pluck the string.











4








VARIOUS OTHER PLECTRUM GRIPS




Other Grips:


MAB Anchoring Crutch Fanned out [e,g Lynch] Finger out [sometimes Meola]

PLEASE NOTE:

Different players grip the pick in different fashions. I use the classic John Mclaughlin
grip because I feel it is the best one when it comes to jazz/fusion improvisation and
complex rhythms. But, the basic concept of holding of the pick between the thumb
and the forefinger remains the same for all. Whichever grip you choose always
remember that regardless of how you hold the plectrum, It is the Principles that
always remain the same.












5








WHAT IS ACTUALLY HAPPENING WHEN WE ARE ALTERNATE PICKING?



Plectrum and string Alignment

If we look at the diagram below we can see what is PHYSICALLY taking place when
we are picking across from the Outside of the 1
st
and 2nd strings. We are skipping
over the second string and Not even Touching it, before we come back down to
pluck it!


UP SKIP OVER PLUCK DOWN

This is known as Coming UP on the UP Stroke. When we do this we naturally Align
with the next string that we wish to pluck. This gives us the Correct Leverage and
hand positioning so that we can play each note AS IT COMES. This works naturally
regardless of Floating or Pivoting from the bridge of the guitar.

= UP SKIP OVER PLUCK DOWN










6








A WORD FROM THE PROS:



Michael Batio and Paul Gilbert demonstrated this in the late 1980s. Here is their
interpretations of this simple concept. Both of these exercises employ alternate
picking from the Outside of the strings.

MAB Exercise for the Up Stroke



In this Paul Gilbert Example he Doubles the coming up on the upstroke concept to
really emphasis how essential this is.



This concept is so illusive that many guitarists miss it or just give up. It connects
Everything. This is the little hinge that swings the big door!





7











Straight line scientific theory



A REFERENCE POINT ONLY:

When coming up on the upstroke it is a good idea to follow a Straight line angled
at Around 45 degrees. This means that we will pluck each string with exactly the
same motion and plucking hand shape when we cross the strings. This in turn enables
us to pluck each string as it comes rather than haphazardly chasing after notes.

Scientifically speaking the Shortest and Quickest route between any two points is a
Straight line. Arcs and curves defeat economic motions. If you come Up on the up
stroke then this generally occurs naturally.















8











String Alignments and straight line theory

In the diagram below we can easily see the right hand crossing the strings following a
straight line around 45 degrees picking each string naturally as it comes. We can also
see that the right hand is always aligned with the string it wishes to pluck.

Straight wrist following a straight line at around 45 degrees Aligned with the 6
th
string
Open E



Straight wrist following a straight line at around 45 degrees Aligned with the 5
th
string
Open A




Straight wrist following a straight line at around 45 degrees Aligned with the 4
th
string
Open D





9












Straight wrist following a straight line at around 45 degrees Aligned with the 3
rd
string
Open G



Straight wrist following a straight line at around 45 degrees Aligned with the 2
nd
string
Open B



Straight wrist following a straight line at around 45 degrees Aligned with the 1
st
string
Open E





10















SIMPLE ALIGNMENT EXERCISE



In this simple exercise below we will APPLY all of the above to all 6 open strings. [No
fretting required]. This will probably feel awkward at first but it is just so that you can
get the Feel and understanding behind the Straight line and the Coming Up on the
Upstroke Concept.

REMEMBER: The movement comes from the Wrist not the forearm and certainly NOT
from the elbow.



Use the Tip of the Plectrum
It is essential to use the TIP of the plectrum and AVOID Digging in to deeply between
the stings with it. [Otherwise you will have to dig out with it and loose momentum].




11














lOCKING THE WRIST AND FORCING: AVOID!



A Word of Caution:

Many beginners rest on the bridge of the guitar aligned with ONE string and try to
pluck or tremelo 4 or more strings really fast from that one position without coming Up
on the upstroke to the next string! This is IMPOSSIBLE and means that they will
generally ARC and jam the wrist and force Damaging movements from the elbow.

BAD Jammed Wrist GOOD STRAIGHT Wrist



If you do Arc your wrist you will probably Stick around the 3
rd
or 4th strings. This
can lead to the excessive use of force and cause DAMAGE to the tendons and the
elbow. Alternate Picking Always consists of a light and relaxed movement employing
the same Leverage at a slow pace as it does at a fast pace.









12













PALM ANCHORING / FLOATING [Shifting Position across all 6 strings]


Remember: When you come Up on the up stroke you will naturally be aligned with
the next string that you wish to pluck

Below: The Right arm rests on the top edge of the guitar holding it gently but steady.



Palm in Position for Descent Ready to Play Descending



Palm in Position for Ascent Ready to play Ascending



13













ANGLING THE PLECTRUM:



It is worth experimenting on angling the pick. Many top players do this. [See Diagram
below]. As you progress this enables you to slice more easily through all 6 strings
whilst varying the edge to the tone of your picking. By employing Straight line
theory the plectrum will naturally angle.

Pick FLAT Pick ANGLED





It is best to use a Hard Plectrum for speed picking. E,g JIM DUNLOP 1.20MM and
then some!




14

























Metrenome


It is essential to practice with a metrenome. This will iron out all of the creases in your
playing as well as maintaining smooth and fluid alternate picking lines.

You can also use a drum synth or any device that keeps accurate time.


Classic Metrenome Digital Metrenomes







15

























IN Conclusion:

Despite its popularity with Heavy Metal alternate picking is an excellent technique
when employed for the acoustic guitar or the execution of clean electric guitar lines.
It is also very useful for serious improvisation when for example one is soloing through a
complex chord chart.

Many thanks for reading this book. I hope that it has been of some use to you.

I wish you all the best!
Good Luck and thank you for downloading this book.






Clifford Earle Martin 2011

Copyright 2011 c Clifford Earle Martin *All RightS Reserved* Uk/Euro/USA

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