If you find the position shifts challenging at first, remember what I said about using a metronome and slow this one down to a more manageable tempo. This third example shows how alternate picking is used in a neoclassical style (à la Yngwie Malmsteen and Vinnie Moore) on a single string. Some slapback delay will help get an authentic sound, but don’t confuse your picking by adding too much. Aim for consistent dynamics with your up and downstrokes. This segment is played in cut common time, sometimes referred to as double time and is in a country or bluegrass style. Dick tended to pick from his elbow/arm but that can prove tiring for long bouts! Add plenty of reverb and light overdrive to get close to the sound. Make sure that you observe the accents, which are a common occurrence in this style of guitar playing. This example utilises quick 16th-note picking akin to tremolo picking in a surf rock style. If you find any of the examples too fast at first, then take them at a slower tempo. A metronome is the perfect practicing tool to assist with this. The way to master this is to start slowly and increase your speed gradually. If they are not aligned and in perfect synch with one another, the results will be messy. One crucial thing to remember is that you need to coordinate your picking-hand action with your fretting-finger movement. Angling it slightly may make slicing across the strings easier, but having the pick strike the string flat on will provide a bigger tone. The angle in which the pick strikes the string is another important factor. Some players pick from the wrist with a fairly secure elbow, while others lock their wrist and pick from the elbow. The next thing to think about is how you pick. The key is to experiment and find what works best for you, remembering that different gauges will suit different people, styles and situations. 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. 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. One thing to bear in mind is the type of plectrum used in order to master this style.
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