Speed Techniques within Fingerstyle Guitar - The Guitar Journal

Speed Techniques in Fingerstyle Guitar - The Guitar Journal

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Many players transition from using a traditional pick to playing fingerstyle guitar because it gives them better control, tone, and connection with the instrument. But fingerstyle can cause it feel harder to amuse yourself fast lead plan and melodies. So how do you keep up the rate on single-line melodies and solos?

One of the advantages of a traditional pick is that it allows fast single-note picking using established techniques similar to alternating picking and cross-picking.

Fingerstyle guitarists can still amuse yourself very fast, though, and arguably faster within some scenarios similar to cross-picking and arpeggios.

So here are several approaches to increase your rate when you transfer away from the pick and into fingerstyle guitar.

The Classical Approach

If you’re familiar with classical guitar, you’re probably and familiar with PIMA. PIMA is a notation structure appropriate to your strumming/picking palm that uses the acronym to identify your digits: P = Thumb, I = Index, M = Middle, A = Ring finger. For stocked explanation, see here.

Using that method when a shorthand (no pun intended), we can see that classical guitarists typically approach single-note playing by:

Using i-m or m-i fingering, simply alternating the two fingers.
For string skipping, you can and use the i-a, a-i, m-a, or a-m patterns. These patterns incorporate the ring finger.
And appropriate to very fast notes, you can practice the technique of using i-m-a or a-i-m, coordinating the three fingers appropriate to very fast playing.

The School of Rock

Fingerstyle players from the school of rock – folks similar to Mark Knopfler and Derek Trucks – often alternate the handle and index thumb to amuse yourself fast licks and solos.

The way it shop is that you use the handle to amuse yourself downstrokes and the index thumb to amuse yourself upstrokes, the whole amount on the same string.

You use the same technique to transfer between strings.

As only commentator described within this discussion:

“…the alternate plucks are more similar to a snaps where the string sort of gets passed backwards and forth between handle and index finger…”

This technique drive not get you to Kirk Hammett levels of rate picking, however it does cause other facets of picking technique easier: string skipping and arpeggiation, within particular.

O Come, O Come Emmanuel

Tommy Emmanuel, within the life of Chet Atkins, favors a hybrid approach. By using a handle pick and fingers, he can get the best of both worlds.

During the rhythm parts of the song, he uses the thumb pick to amuse yourself the bass notes, and then his fingers to amuse yourself the higher strings.

For single-note lines, though, he often uses the handle pick similar to a traditional pick, blazing via straight-ahead rock, blues, and jazz licks.

One-Size-Fits-All?

There are more approaches out there. Guitar has a great diversification of approaches, of course, from Wes Montgomery’s “thumb” to Van Halen‘s finger-tapping.

One thing we should remember, though, is that there’s no single technique that drive work within each and every situation.

There is never only style of playing that drive approve you to perform excellently on the other or far side of the whole amount genre, the whole amount songs, and within each and every environment.

We keep to choose the best technique appropriate to the moment, even air to song.

And, I suppose, at the end of the day, we must modestly acknowledge that there are certain things we drive not do well. We may never breeze through a jazz solo similar to Wes, or blister the front row with the intro to Eruption.

But we can choose the right tool appropriate to the air within front of us.