Flatpicking Guitar Technique Questions & Answers

Flatpicking Development Techniques

1. A relaxed wrist is far better than a stiff forearm approach. Keep in mind, Norman Blake and Tony Rice both use the relax wrist approach. I've played with both a stiff arm and the wrist...I certainly can play with lots of speed as a forearm player...only, the tonal quality and feel are somewhat compromised. I now use a combination loose wrist and slight forearm movement.

2. Medium to Thick Gauge picks are the only way to go...Thin picks just slap and seem to relinquish control. The thicker the pick, the more truer the tone...the thinner the pick, the more the tone comes from the pick (instead of the instrument's natural voice).

3. When speeding up the alternating pick strokes, volume seems to always diminish. The best way to hedge up against this inversely proportionate phenomena is to:
a. always listen closely to the dynamic range
b. always use a medium to thick pick
c. be forceful with the picking hand
d. use medium gauge strings instead of lights
e. use more of the pick surface...not the very tip.

4. Holding the pick with the side of the index finger, as the index curves under the pick, while placing the thumb on top of the pick seems to be the most natural pick position. This way the hand movement, up and down, is perpendicular (at a direct right angle) to the horizontal plane of the strings. And, there isn't the transient sound that's encountered when the pick is not at a right angle to the string during its attack. For instance, if you hold the pick with the tip of the fingers (index and middle), such as Steve Morse does, the pick angle is no longer perpendicular to the string's plane (unless you arch your wrist). This works well on an electric; however, it doesn't seem to work well on acoustic guitars where the wound strings emit a scraping sound.

5. Bracing the wrist on the saddle/bridge seems to add a solid support...unfortunately, the drawback is that it's difficult to jump quickly between strings. The positive side: you will be forced to use nothing but wrist action. This position is a great exercise to focus the wrist movement, however, I wouldn't recommend it as a permanent hand position.

6. Supporting the hand with the little finger on the pickguard seems to offer a solid support without number 5's sacrifice of not being able to jump from larger string intervals. I personally use this position quite often...and have found it to allow me to add syncopations that seem far more difficult with a floating hand. The drawback: transient sounds occur from the anchored little finger hitting and scraping on the face of the instrument.

7. The floating hand: this is the most practical position...no limitation on reaching the strings, no transient noise (as long as you're holding your pick at a perfect right angle to the string plane), total freedom of movement and the easiest method to combine both forearm and wrist to the picking action.

8. An essential tool: I'd have to say that a metronome investment is critical to developing a solid picking hand. The metronome will assist you in measuring your progress along with ensuring that your meter and timing is unfailing.

9. I sincerely believe that crosspicking is one of the best exercises in developing a solid picking hand. Crosspicking involves lots of arpeggios forcing your picking hand to become well acquainted with jumping over and measuring distances between strings. Additionally, crosspicking seems to be more demanding in that it focuses the picking hand on developing picking accuracy...especially since there is very little margin for error. When picking out a crosspicking pattern, each string has to be picked in consecutive order...if the aim is off, the entire pattern, or song, is off center. Whereas, when flatpicking on one string at a time, it's far easier to regroup and find your place. Additionally, crosspicking melodies teaches you how to gain independence in accenting particular notes within the pattern...which is completely random and allows you to separate the "by rote" tendencies flatpickers can fall prey to. Therefore, I highly recommend developing your picking hand through as many crosspicking exercises as possible. (see our "Guitar Crosspicking Technique" book published by Mel Bay)

10. Using dynamics: this seems to be where many fall short...it doesn't matter whether you're picking on bluegrass, jazz or rock, dynamics add the essence of the song. Varying the volume from pick stroke to pick stroke, depending on what the song dictates, is most critical to establishing the mood and feel. I'm sure you've heard your sure of machine gun flatpickers...fun to listen to, however, it seems to start to drone like an auditorium class lecturer. No matter how fast or slow, without volume inflections, interest wanes quickly. I still believe that it's not about speed; it's about music. All effective songs communicate with interesting dynamics that contribute to the message being conveyed. The message within an instrumental setting, of course, can be quite abstract in that it might be a certain mood of grandeur, sadness, elatedness, or even cosmic awareness...of which cannot be communicated vocally. In light of this, my ultimate suggestion for number 10 is to carefully listen to your attack and determine:
a. Does the choice of accents (emphasis on certain notes) contribute or take away from the song's communication?
b. Can I attain a lyrical quality with my picking hand...that sounds natural and integral to the song's feel?
c. Am I focusing on allowing the song to breathe with my choice of note accents?

Number 10 would be, in my personal view, the most important consideration. I believe if you're focusing on number 10 during the developmental picking stages, you will be miles ahead of yourself in gaining a playing prowess that will supercede your highest expectations. This would be the one aspect of your playing technique that will separate you from being predictable. Ten players can all play the exact same melody, with perfect timing and accuracy...only those who focus on the dynamics will have something different, and interesting, to offer.

Let us know what you've discovered when experimenting with the tips in this section...e-mail us at: info@folkofthewood.com

Subject: plectrum technique
Date: Fri, 31 Oct 2003 14:53:39 -0600

Dear Mickey,

I have hit a small stubling block in learning to play the guitar. I have come to something called the plecturm technique and am unsure how to play it. My book does not describe the technique. Looking at the music, it looks as if i need to pick with my thumb and strum with my fingers at the same time. Is that correct? What is it supposed to sound like? Any advice you could give me on this technique would be greatly appreciated.

Thank you,

Missy

greetings Missy...

Plectrum Guitar Technique can be directly translated as Flatpick Guitar Technique. Playing with a plectrum is essentially playing with a flatpick. Fingerstyle guitar would be the direct opposite of Plectrum guitar. Therefore, the technique referenced in your book would require a flatpick to accomplish. It could be describing how to strum with a flatpick or how to play single notes with a flatpick. Either way, it would be considered Plectrum Technique.

Hope this helps...Mickey

Subject: Flatpicking
Date: Fri, 12 Apr 2002 14:31:35 -0400

Sir, What is the best beginning book to learn flatpicking. Already have an Acoustic (Seagull), is this a good guitar?
William C. Myers

Greetings William,

I believe you'll want a book that is oriented to teaching exercises and foundation...not a songbook...the songbooks can come later. It's better to pursue exercises first and learn songs second...this builds a stronger foundation and lessens the frustrations of attempting to learn more difficult pieces at a later date. Therefore, my recommendation would be any book that focuses on building technique through exercises as opposed to songs...sorry, I can't name any off hand...try www.melbay.com

The Seagull is a fine guitar...in fact, one of the better ones available today for the beginning/intermediate student...

We may even carry them in the near future...

Mickey