This month Simon Barnard guides you through a variety of exciting examples to help develop this vital guitar technique.
Alternate picking is a technique that every guitarist will encounter. From beginners to pros alike, a solid alternate picking technique is a must-have in your arsenal of techniques. There are a number of guitarists who are well known for their dexterity when alternate picking, such as Paul Gilbert, Al Di Meola, Pat Martino, Molly Tuttle, Albert Lee, Barney Kessel, and Steve Morse. So, it’s present in pretty much every genre, from rock and metal, to country, jazz, fusion and bluegrass.
Fast alternate picking is articulate and percussive and there’s a machine gun-like quality to it, unlike the smoother sound of legato slurs. Therefore, this technique is favoured by players in rock and metal styles where a strong and defined sound is required. It’s also the only way to play fast picked lines on single strings, such as the tremolo picking heard by Dick Dale on his famous instrumental, Miserlou. The Paul Gilbert track Technical Difficulties showcases how he uses the technique when playing scalic patterns across multiple strings combined with palm muting. And Steve Morse’s playing on Tumeni Notes is a masterclass in using alternate picking when navigating arpeggios, rather than economy or sweep picking, which would be the preferred choice for many other guitarists.
While the benefits of alternative picking are evident, such as precision, articulation and general speed, it can be problematic when playing arpeggio lines, where there will be an uneven number of notes to play on each string. This is why some guitarists favour the aforementioned economy and sweep picking techniques. However, Steve Morse has proved that his approach, although challenging at first, maintains a level of articulation that can only be achieved when using alternate picking.
One thing to bear in mind is the type of plectrum used in order to master this style. There isn’t a right or wrong way but most players prefer a stiffer pick, which doesn’t bend when the strings are struck, thus providing greater efficiency; others like a pointy pick such as a Jazz III style, where a smaller point of contact may facilitate the technique with greater ease. However, this really is down to individual taste - note that Paul Gilbert’s latest signature picks comes in at a very bendy 0.50mm gauge. The key is to experiment and find what works best for you, remembering that different gauges will suit different people, styles and situations.
The next thing to think about is how you pick. Some players pick from the wrist with a fairly secure elbow, while others lock their wrist and pick from the elbow. The angle in which the pick strikes the string is another important factor. Angling it slightly may make slici
