Rethink your approach to pentatonic shapes by pushing the limits of your picking.
Advanced
Beginner
• Visualize different string groupings for pentatonic scales.
• Understand the basics of economy picking.
• Learn how to create lines in the style of Eric Johnson, Shawn Lane, and Joe Bonamassa.
When I first heard about economy picking, the simplicity intrigued me. The concept is relatively straightforward: After a downstroke, if you're moving to a higher string, you make another downstroke. If you travel to a lower string, that requires an upstroke. Many beginners often intuitively do this. It wasn't until a bit later that I adopted a regimen of strict alternate picking for scales and sweep picking for arpeggios. But the idea of economy picking echoed in my mind. Wouldn't it be wonderful to have one picking style that could fluidly transition from arpeggios to scales? As time went on, I explored players like Django Reinhardt, Frank Gambale, and George Bellas, and economy picking naturally found its way into more of my technique.
I want to preface this lesson by saying this picking option may be a useful addition to what you do, but not necessarily replace your picking style.
Picking can be related to drum sticking, where your upstrokes and downstrokes are similar to a drummer's right and left drum strokes. In a fill, the drum strokes aren't always going to alternate, and other sticking patterns are common to make the most efficient movement around the drum kit. For the audio examples here, I am playing everything on a nylon-string Martin 000C miked so that you can really hear the percussive attack, but the ideas in this lesson can be used on electric guitars and in any musical style.
Even early on in my economy picking exploration, I wanted to apply this technique to phrases built on pentatonic scales, which are typically played in a two-note-per-string (NPS), alternate-picking style. Consider this: Arpeggios are often associated with sweep picking, and they're often played in a one-note-per-string style. Major scales and modes typically use a three-note-per-string fingering. The examples presented in this lesson focus on combining these NPS numbers into what we'll refer to as "string groupings." All the examples in this lesson use the A minor pentatonic scale (A–C–D–E–G), so it should be familiar territory for you.
For Ex. 1, instead of playing the minor pentatonic as you commonly would with two NPS, we will play a string grouping that we'll call 2+1. That means we will play two notes on a string, then one on the next, and so on. Pay close attention to the picking directions here and think of it as a sweep picking effect, where the pick simply lands on the next string, ready to play it, without having to jump over it first or change direction.
As for the fretting hand, we'll use a bit of a rolling technique here: If two notes are played by the same finger on different strings, you roll your finger (from tip to pad or vice versa) to fret the next note. It's like a mini two-string barre chord, but the notes sound one at a time, rather than ringing out together.
Ex. 1
Ex. 2 has a different grouping: 1+1+2, i.e., one NPS, one NPS, then two. This will give us an even four-note phrase to ascend string sets, then descend. Also, notice how I tend to start with a downstroke but as the phrase continues, the next pattern starts on an upstroke. In the beginning, you have to really be mindful about the pick direction. But at some point, your hands will develop a synchronicity where your right hand naturally follows the notes that your left hand is playing. This requires less attention than alternate picking, and it allows you to just focus on the notes you're playing.
Ex. 2
Next up is a five-note phrase based on a 2+1+2 formula (Ex. 3). I've always been drawn to the rhythmic accents that phrasing in five gives you over a 16th-note subdivision. Also, pay attention to the left-hand fingering where you roll your index finger across strings. You don't want the notes to ring into each other; instead, strive for a clean separation when transitioning from note to note.
Ex. 3
Ex. 4 features another grouping of five. This example is a string grouping of 1+2+2 NPS. This has a similar sound to licks by Eric Johnson or the late Shawn Lane. Although both these players mostly used alternate picking for pentatonic scales, they would use economy picking to play phrases consisting of odd groupings.
Ex. 4
Ex. 5 delves into playing patterns across four strings at a time. This one uses a string grouping of 2+1+1+2 NPS. Notice that there is a string skip as the pattern begins on the next string set. For that leap, travel in the pick direction of the leap—this often yields two of the same pick directions in a row. Practice slowly and eventually this movement will become very natural.
Ex. 5
Now let's move into some three-note-per-string pentatonic scales. Ex. 6 includes all the notes of a pentatonic scale, but in a grouping of 3+1 NPS. This may be a bit of a stretch, but the sounds and sequenced patterns available in this approach are really captivating.
Ex. 6
One of the patterns achieved from this stretched-out pentatonic shape is found in a string grouping of 3+1+2, as shown in Ex. 7. Hopefully you can hear the smooth sound economy picking offers you. While you could play these same exact notes using two-NPS alternate picking, that would yield a different sound from how it's notated here.
Ex. 7
Now for a fun seven-note grouping: Ex. 8 uses a string grouping of 3+1+3. When you have an odd pattern of notes like this superimposed over a steady current of 16th-notes, it creates an interesting sound. Now, instead of isolating the ascending and descending versions, try playing each grouping up and then back down. Invent your own combinations!
Ex. 8
Since we have stretched to this wider scale shape, let's try it with some of the previous string groupings. Ex. 9 uses the three-note-per-string pentatonic stretch, but only plays the outer two notes. This example is with a 2+1 string grouping that gives you some interesting interval leaps—some notes are far apart and others close together.
Ex. 9
Our last example (Ex. 10) uses a wider stretch in a 2+1+2 string grouping. It moves around vertically in its five-note phrase. Notice how this is more like arpeggio sweep picking than some of the previous examples.
Ex. 10
Take the ideas presented here and elaborate on them. Imagine these economy picking examples transposed into the four other pentatonic shapes and into other keys. Another approach I love to play with is side-slipping a fret higher or lower in and out of key. Also, instead of playing long streams of notes without pause, try isolating each grouping with sustained notes between them, or use different rhythmic subdivisions, such as triplets. One of the cool things about economy picking is how a specific combination of pick directions can yield a cascade of notes from one smooth movement. Happy picking.
This article was last updated on August 20, 2021
Intermediate
Beginner
- Develop a better sense of articulation.
- Learn how to combine sweep picking, alternate picking, legato, and economy picking.
- Create phrases that better align with the emotional expression of the music you’re playing.
I remember seeing John Petrucci’s Rock Discipline DVD when I was a teenager and his advice on practicing really stuck with me. Now, I don’t remember any of the specific exercises from that video, but his method for splitting up your allotted practice time was really interesting. According to John, he would divide his time up equally between areas like alternate picking, sweep picking, legato, and tapping. It’s a straightforward idea, and it obviously worked for him, but I want to propose a different approach. I’d like to try to change the way you might think about technique and your technique practice.
I have found that metal players set out to learn every technique on the instrument for its own sake. This leads to a path that equates these techniques to simply motor skills. But how about this: Think of them as unique and transformative sounds and phrasing tools. Speed is a phrasing tool, but nobody cares how you pick that fast passage if the emotion and feel are there.
Instead of practicing exercises for different techniques, choose a piece of music and try to play it in different ways. You could use alternate picking for the entire thing or take a more legato approach. Are there one-note-per-string elements in it that could be swept? Want to improve a certain technique because you like the sound of it? Then don’t do exercises that just apply that technique to ideas you already know. I’ve found you progress a lot faster, and your playing will sound more musical, if you approach technique this way.
Music is not meritocracy; it isn’t about who’s the fastest or cleanest. It’s about expression, and different techniques will allow you to express yourself in different ways on the instrument. Many great players have said in interviews they chose their “signature technique” because it came easy to them or because their musical journey forced them to play a certain way. Per Nilsson has said he favors legato because it came much easier to him than alternate picking. Andy Wood has impeccable alternate picking because he started out on mandolin playing fiddle tunes. Andy James has said in interviews that he barely ever sweeps because it feels unnatural to him and he’s not very good at it (although I have seen him do some pretty impressive sweeps). Let’s dive into a few examples and see how you can apply various techniques to each one to create different sounds, accents, and feels.
The first idea (Ex. 1) starts out with a fairly straightforward descending scalar lick taking ideas from early Whitesnake and Deep Purple solos. The whole idea has a C Dorian (C–D–Eb–F–G–A–Bb) sound. After the descending scalar idea, we go into an intervallic phrase that slides up the scale and playing the respective diatonic sixth of each note we ascend in the scale before ending the lick on a Cm7 (C–Eb–G–Bb) arpeggio idea.
The first example was played with mostly alternate picking. Personally, I prefer an alternate-picking approach for scalar ideas like this. It’s just easier to stay in the pocket for me. Ex. 2 is the same idea played with more hammer-ons and pull-offs, or legato. Pick once per string and let the left hand do the rest of the work. For the intervallic sixths I used hybrid picking.
Ex. 3 mixes different techniques to accent certain notes and create a more dynamic sound. This is probably how I’d play this idea most of the time unless I’m going for particularly aggressive picked sound.
The second idea has more of a fusion sound and starts out with a F#m7 arpeggio (F#–A–C#–E) idea with a few notes added in for color and to accommodate the pattern. After I ascend the arpeggio I go into a descending chromatic line before ending on a pentatonic idea sliding up the neck and ending on the b3 (A) of F#. I’d typically use this lick over an F# minor vamp. Ex. 4 Is how I’d play it using legato technique. It’s a mix of hammer-ons, pull-offs, and economy picking for the arpeggio and pretty straight forward legato for the chromatic and pentatonic ideas.
In Ex. 5 I economy pick the entire arpeggio idea and add a little hammer-on before descending the chromatic phrase. This way I can start the rest of the lick on a downstroke.
Strictly alternate picking this idea is quite a challenge but I’ve given it my best shot in Ex. 6. It’s rhythmically more in the pocket but it’s not as fluent for me as other techniques. It’s great practice for your right hand if you like the sound and want focus on alternate picking.
The last idea is based on Andy Timmons’ incredible song “Groove or Die” but in a different mode and key. It’s a descending sequenced D major arpeggio (D–F#–A) which goes into an ascending three-note-per-string D major scale (D–E–F#–G–A–B–C#) that can be looped. In Ex. 7 I strictly alternate pick the entire idea, which sounds rhythmically tight but limits my speed significantly.
You can hear how this sounds with sweep picking and legato in Ex. 8.
Ex. 9 is how I personally find it the most comfortable to play. A mix of alternate picking, slides, and pull-offs. You could also economy pick the ascending part but I find it easier to stay in the pocket with alternate picking for scalar ideas.
Feel free to mix and match different techniques to find what’s most comfortable and pay close attention to how it sounds. This will help you develop a healthier attitude towards technique and how to practice in order to improve it. Techniques are just tools to express phrases in different ways and shouldn’t be practiced solely for the sake of being able to do them. The music always comes first!
Just take your musical vitamins!
Intermediate
Beginner
•Create a goal-oriented warm-up routine.
• Learn to outline all 12 major scales in a single position.
• Develop an understanding of tremolo picking, quintuplets, and the chromatic scale.
Warm-ups aren’t just about limbering up your fingers. Warming up helps with focus and confidence. It’s difficult to go into a performance cold. Whether it’s a Broadway show, a Carnegie Hall performance, a bar gig, or any formal or informal setting, you need a warm-up routine. Like a runner who needs to stretch before a competition, a musician needs to get their mind and body ready before a performance. Though there is a flood of method books on the market along with YouTube tricks and tips, there is no standard canon of technical exercises available for electric guitar. As a professional guitarist over the years, I’ve seen the need for an effective, comprehensive, yet quick warm-up routine.
The Warm-Up Routine
The following are ten specific exercises, appropriate for both hands with a focus on picking, and when played at tempo should take about five minutes. You’ll be ready to play just about anything and still have your energy to devote to the gig. The idea is to be able to practice technique that surpasses the demand of what you’ll be playing. These are easy to memorize and highly portable, without having to carry books or download an app.
Directions: Use alternate picking for all exercises except for the sweep picking one. Be mindful of the picking as it is important to develop monster technique. Play all notes evenly and cleanly at a slow tempo before gradually speeding it up.
Ex. 1 is probably the exercise I despise the most. It was shown to me by a guitar phenom/colleague in graduate school. He played it fast with no errors, clinks, or hesitations. It sounded angular and I hadn’t heard anything like it before, so it piqued my interest. What makes it difficult is the alternate picking on each string, with only one note per string.
Start with one finger per fret from the 6th to the 3rd strings. Then bring the fingering down to the next four strings starting on the 5th string. Continue to move the shape until you run out of strings. The left-hand pattern will be 1-2-3-4, 1-2-3-4, 1-2-3-4, 1-2-3, 1-2, 1. At this point, move down a fret and invert the shape starting on the 1st string. Keep this up until you reach the 1st fret. It’s challenging to play cleanly, but it sounds cool and is a necessary technique.
Ex. 2 encapsulates the difficulties of guitar playing in a single measure. This one focuses on string crossing and pick direction. Be aware of the extra note added to the pattern. It turns the picking direction around, providing an opportunity to begin a phrase with an upstroke. I find that my picking gets tripped up when the pattern changes, making this a good example to overcome this technical challenge.
The most basic and traditional form of the major scale is shown in Ex. 3. What makes this challenging is a combination of two- and three-notes-per-string shapes while alternate picking. You end up straying from a predictable flow of notes per string. Play this one four times to train your picking hand to accurately get this skill down.
So, you say you know the major scale? This may be one of the more difficult ones. The premise in Ex. 4 is that wherever you are on the neck you have access to all notes and scales without shifting to a more comfortable fingering. When you’re playing over a chord change or an idea, you want to be able to play the next note within reach. The moment you have to shift to play a line, often your thinking stops and creativity is averted.
This may even be more of a mental exercise than physical. It requires keeping track of several items at the same time: moving through all keys in the cycle of fourths, the direction of the scale, and finding the correct note in position, all at a racing pace (eventually).
Play the major scales in one position without shifting positions. The object is to play within a four to five fret span without using open strings. There are four directions for this exercise: up, down, alternating up/down, and alternating down/up.
This is more of a quasi-classical guitar passage where the right-hand fingers do the work (Ex. 5). Specifically, it’s a pedal-point exercise where one note stays the same while other notes are moving. It really works up alternate picking technique with the triplet part.
Ex. 6 is one I would play before a performance. When I started performing on Broadway, I realized the involvement and demand of the right hand. Fast picking is determined by tremolo technique, so I wrote a tremolo part on a G minor arpeggio leading up to a Bach excerpt (1st violin Sonata BWV 1001 Presto).
Ex. 7 is all about pentatonic quintuplets. Notice that for each starting note of the five-note group, the pick direction will be the opposite from the previous one. It sounds amazing when played fast, a la Eric Johnson.
Perhaps the chromatic scale is already everyone’s go-to warm-up. However, Ex. 8 utilizes open strings combined with fretted notes in the first position, which is a challenge. This may be on par with something out of Mel Bay Book 1, but try playing it fast and clean.
To play modern ideas on guitar, you have to know sweep picking. Since sweeping uses different musculature, it will feel odd or different at first. Start off slowly with triplets, then take the same note pattern and play 16th-notes followed by quintuplets. Ex. 9 aids in both picking and rhythmic control.
Ex. 10 breaks out of narrow, scale-step intervals and branches off into wider intervals, like 4ths, 5ths, 6ths, and 7ths. The techniques involve string skipping and a plethora of different shapes. Practicing intervals is an excellent ear training exercise and should be done daily—like taking vitamins.
I hope this warm-up routine brings you a newly heightened technique and much success in your musical performances. Until next time, happy shredding and enjoy the journey!