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Difficult Picking Exercises

by James B Schultz

Introduction

When writing an article you need to make assumptions about your reader. This article was
requested after several posts I made on the topic "Difficult Picking Exercises".

Therefore my assumption is you understand that improvement comes with effort and
working on the things you find difficult is where you are going to achieve the most gain. If
you are not ready to be challenged, mentally and physically there is no need for you to
continue reading this.

What makes some passages more difficult to pick than others?

The factors involved are:
1.Number of notes per string
2.Cross Picking (Outside Picking)
3.Inside Picking
4.Coodination
5.Figure Meter (Quintuplets etc.)
6.Synchronization
7.String Skips
8.Mental Difficulty (I am advocating you think, and am talking about the concept of the
line, how difficult it is to understand and execute the particular pattern)

Mathematics

Everything I do relating to learning and teaching music is approached mathematically,

using some form of Set theory and Combinatorics. This gives structure and reduces the
plethora of possibilities down to a manageable size.

My areas of discomfort in executing various phrases are what I have used as a metric in
deciding what to include here, it is likely that these are similarly difficult for most people.

My observations have shown me that the fewer notes executed on one string, the more
difficult the phrase.

Physics gives us some understanding of this, since you need to move from string to string
more often, it is going to take longer to move to another string, no matter how fast you
get. So 1 note per string exercises are the most difficult to alternate pick, also because you
are going to be using outside picking and outside picking requires more movement.

It is important to note when you play odd numbers of notes on a string that you will always
be outside picking half of the time you change strings.

Even numbers of notes per string allow you to be able to outside pick or inside pick all of
the time, depending on what stroke you start with.
Coordination/Figure Meter

There are muscle motions that are less difficult than others. Place your hand on the
table/desk/flat surface; now begin tapping fingers in order from pinky to index (pmri), try
to do it in time and speed up to your maximum comfortable level.

Now try the same exercise starting with the index finger (imrp). Did you notice any
difference in speed? One way is just easier. Now try the same exercise but count 1234
1234, try it both directions and record your maximum speed (Make sure you are accenting
the 1).

Now try the same exact physical movement but count 123 123 accent the 1. Do you notice
any speed difference? This illustrates my point about coordination and figure meter.

Synchronization/Mental Difficulty

Making your two hands attack the string simultaneously is the constant challenge. No
matter how fast you play it will always sound better slower when the hands are in synch.

String skips are difficult for the same reason as changing strings, but now you need to
move at least twice as far.

When learning to execute rigid mathematical patterns, lets say a simple one like 21,32,43
etc... in this case the numbers could just be relative scale numbers. This is pretty easy in a
chromatic context or major scale context.

Now try to execute 321,432,543 etc.. This one is much more mentally challenging so in this
case you picking speed might not be the bottleneck.

This illustrates my point about Mental Difficulty.

Pivoting

The first exercise uses one note per string, before changing strings. The idea is to mix up
every left hand finger with a pivot note on the adjacent string and move the pivot through
all four fingers.

I have shown this with the pivot on the G-string but this could easily be reversed and
played pivoting from the B string. The reader needs to assume this can be played on any
adjacent (or non-adjacent for string skipping exercises) group of two strings, at any
starting fret, just use the appropriate finger.

This is really a left hand as well as right hand workout with a medium level of mental
difficulty.

Remember to play these very slowly and gradually increase your speed until you are happy
with it. Never play these faster than you can cleanly execute them and make sure you are
playing in position.
One Note Per String Ascending Ascending

Next is the sextuplet, ascending string, ascending fingers, in position, single note per string
exercise. This is difficult mentally and physically.

One Note Per String Ascending Descending

Next is the sextuplet, ascending string, descending fingers, in position, single note per
string exercise. This is difficult mentally and physically.

Brain Twister

Next is the quintuplet, ascending/descending string, ascending/descending fingers, in

position, single note per string exercise. This is very difficult mentally and physically, I call
this 'Brain Twister".
Synchronization

This one is a set of synchronization exercises. This starts with 1 note on each string then
the notes on the bottom string increase up to four.

Shifting Around Pivot

This is a weird pivot exercise where each sextuplet starts with the index finger on the B
string and the rest of the sextuplet is shifted downward chromatically.

Triplet Figures

Chromatically ascending in three (123,234,345 etc...)

Chromatically descending in three (321,432,543 etc...)

Septuplets

Chromatically ascending septuplets(1234321,2345432,3456543 etc...)

Pentatonic

The first of these is a three note per string pentatonic exercise. The second one is one note
on each of the D and B strings and two notes on the G string played as sextuplets. This is
very difficult to play fast.

Two Note Per String Diatonic

Two note per string sextuplet exercises forcing inside picking. Just start with a upstroke to
do this with outside picking.

Remember to play these in position, start slowly build up speed only with complete
accuracy.

Playing guitar is whole brain activity, use math to make you goals attainable.
I think that wraps it up.

This article can be read online at http://www.iBreatheMusic.com/article/84

Visit James's website

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