The Importance Of..................Proper Picking Technique Part #2

Here we are at part #2 of "The Importance of Proper Picking Technique." Hopefully you have had time to digest part one and are ready for the next part. In this one we are going to go over "inside" and "outside" picking. These are two techniques that can really put you over the edge speed wise. For many, many years I ignored these two things and relied soley on alternate picking to achieve speedand precision. I had a practice routine for 7-8 years that had me doing two hours of exercises everyday. No matter how hard and long I practiced I could only get so fast using alternate picking only. It was like I had hit a ceiling or something. Don't get me wrong, I got really fast, I just hit a point were practice was useless. As a refresher, "outside picking" is using two or more string runs, the pick, when crossing from one string to another, the pick strokes hit the outside of each string. "Inside Picking" is using two or more string runs, the pick, when crossing from one string to another strikes the area between (or inside) the strings. I like using inside picking when going from lower notes to higher notes (like example 1). I like using inside picking when going from higher notes to lower notes (like example 2). Those are just my preferances. They are not the rule. I do have times use them completly opposite. Really it depends on the run. You want to use what works best for you. All of my examples are in A minor.

Example #1 is an "outside picking" run that just works the high E and B strings with three notes per string, going right up through different positions of the scale. Make sure you pay attention to how it's picked.

Example #2 is an "inside picking" run that again works the high E and B strings, with three notes per string and goes down through different positions. Again make sure to pay attention to the picking.

Example #3 is an "outside picking" run that takes you through the third position of the A minor scale. I have it seperated by bar lines, not for proper rythym division but for when you start the "inside picking" over again. Think of each seperation as it's own two string run.

Example #4 is an "inside picking" run that takes you through the second position of the A minor scale. Again Ihave it seperated to see the "two string" runs.

In all of the examples make sure you pay close attention to how it is picked so that you are really doing the inside and outside picking correctly. The key is to have them clean and clear. Start off slowly and build up speed over time. Adapt them to your own style. Try and figure out how to use them in the solos you have already beenplaying. Remember: If it ain't clean, it ain't nothin'. See you all for Part #3.
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John Berret