Please watch the video below for the full demonstration of how to employ the basics and true mechanics of the strict “Alternate Picking” right hand guitar technique.
Open string exercise. Pluck “Down up” repetitively alternating strictly with the guitar pick. The plucking comes from the wrist. Also, do this exercise the other way with, “Up Down” alternating with the guitar plectrum. This is the basis of strict alternate picking right hand guitar technique.
With “Odd” groupings of notes notice that every time you pluck the pattern again you will be starting on a different picking stroke than you started with previously. So, “Down up down” will then become “Up down up”.
“Odd” Alternate Picking guitar pattern [1String]
Exercise: “Odd” grouping crossing 2 strings on the guitar. Again, notice the reversal of the pattern
3 notes per string “Odd” pattern crossing all 6 guitar strings alternate picking strictly starting on a down stroke with the guitar pick. [Ascending and Descending].
Alternate Picking “Odd” grouping across 6 strings
“Even” grouping: Crossing all 6 strings ascending and descending employing strict alternate picking right hand guitar technique.
IMPORTANT: This now becomes an “Even” pattern because it has been “Doubled”.
3 = odd But 2×3=6 which is now Even.
Meaning, that the two “Odd” patterns form one “Even” pattern which means that every time you cross the strings you will be “Repeating” the same strokes and not starting on a different one.
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Matteo Mancuso’s guitar style is a mixture of Classical and the Jazz style of Wes Montgomery. I would look at it as more of a mixture of Flamenco “Picado” and a Bass 2 finger plucking concept though.
The main reason that guitar players may find this brilliant way of playing the guitar a bit confusing is that when it comes to “Jazz” or Improvisation you will need to be aware of “Odd and Even” patterns due to the “Chromaticism” inherent in the jazz line.
Fingerstyle Consideration 1:
Notice that every time you cross the strings playing in groups of 3 notes you will cross with a different finger in the right plucking hand. This is because you are dealing with an ODD Pattern. So the pattern in the plucking hand will be: 1 2 1 2 1 2 1 2 1 etc.
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In the video above I look at how I write 20th century classical atonal music at the piano. Although this video touches on the basics it does point out the essential compositional elements and emotional make up needed for successful atonal compositions. Regardless of the atonal style which could be, 12 tone serial music, Messiaen modes or Boulez atonality, for the composer/writer the building blocks and perception remain the same.
This lick requires a bit of patience because the fingering is quite finickety due to the un- guitarist nature of the quartal set up, pentatonics and the nature of the intervals and their positioning on the guitar fingerboard.
McCoy Tyner Piano Lick employing alternate guitar picking for rhythmic fluency.
McCoy Tyner Piano Lick for Guitar
Chords for the lick: 1st Part.
McCoy Tyner 4ths triads for guitar
Guitar Chord Shape for 1st part
Chords for the lick: 2nd Part.
McCoy Tyner triadic 4ths chording for guitar
Chord Shape for 2nd Part.
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Below are the Modes of the Melodic Minor Ascending Scale:
Mode of the Ascending Melodic Minor Scale
This is all good and well but what happens when we want to transpose them or employ them with a different parent key.
The ANSWER= count down from the Tonic note of the new parent key. So, for example we will take C. So, if it’s the second mode then count down a 2nd and use that melodic minor scale [Bb Melodic Minor] or if it’s the 4th mode then count down a 4th [G Melodic Minor Scale] etc.
Let’s look at the melodic minor modes transposed to a new parent key of C:
C Melodic Minor “Ascending”. Note: 1st half of the scale is minor whilst the second half is major.
C Melodic Minor ScaleC melodic “Jazz” Minor
The C melodic Minor 2nd Mode transposed with C as the parent key root note. We now have “Dorian b2” this being the same as Bb melodic minor but starting on the parent key root note of C.
2 Octaves Notation and Tablature:
DORIAN b2 MELODIC MINOR MODE
The 3rd Mode: Starting from the parent key root note of C this becomes C Lydian Augmented. We have the F# for the Lydian and the G# that augments/raises up the 5th note. This is also A Melodic Minor.
F# for Lydian and G# for augmented
2 Octaves Notation and Tablature:
LYDIAN AUGMENTED MODE
The 4th mode. We have the F# making Lydian and the Bb as the flattened 7th. [Starting on G this will make the G Melodic Minor Scale].
2 Octaves Notation and Tablature:
LYDIAN b7 MODE
The 5th Mode. Notice the Ab note creating the flattened 6th. Also we have the flattened 7th with the Bb note for the Mixolydian. This mode is also the same as the F Melodic Minor scale.
2 Octaves Notation and Tablature:
MIXOLYDIAN b6 MODE
The 6th Mode. This mode has a raised 2nd with the D natural note. This is also the same as the Eb Melodic Minor Scale.
2 Octaves Notation and Tablature:
LOCRIAN #2 MODE
The 7th Mode. Notice that the F note is flattened [or E natural]. This is the same as Db Melodic Minor Scale.
2 Octaves Notation and Tablature:
SUPER LOCRIAN MODE
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Notice the off-beat set up and triplet figure that pushes the line along. This is a typical bebop phrasing technique. These simple little rhythmic figures are very common but give good command to jazz bebop phrasing.
Bebop off-beat and triplet figure for good rhythmical jazz phrasing
Jazz bebop line/lick No2
Jazz guitar Bebop Line
Notice the 8th note and the two 16th notes that propel the line along for a great swinging feel.
Bebop Jazz line
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John Mclaughlin Guitar Scale/Concept for left hand fingering and right hand alternate picking
Notice that the scale concept consists of crossing the strings with the “SAME” fingering every time making it easy to remember and play.
John Mclaughlin Guitar Scale alternate picking
Notation and Tab:
Start on a “Down” stroke with the plectrum and alternate pick strictly “Down up Down up” etc.
Alternate Picking John Mclaughlin Guitar Scale Concept
This fingering for the fretting guitar hand is a repetitive pattern. It’s the same pattern crossing the strings with the same finger ascending and descending. It employs strict alternate picking with the plectrum. It is a concept that John Mclaughlin employs a lot in various forms. It is heard in it’s bare form a lot in the early “Shakti” recordings/live performances.
Although this is just a short lesson, there is wealth of information in that simple scale and fingering. It can easily be employed with fourths and chromaticism.
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For instance if you start a scale on the 2nd note of the C major scale you will be playing “D dorian mode”.
THEN WHY DO PEOPLE FIND IT CONFUSING?
That is because of “transposition”.
For instance:
We can transpose that “Dorian mode of D” to any tonic we desire.
In the example below it is transposed to C as the tonic.
How did I do this?
Well if the note D [Tonic of D dorian] is two 1/2 steps up from C then what is the note C two 1/2 steps up from?
Answer is B flat.
So we have a B flat scale staring on the note C.
Below is a Clear explanation and diagram in music notation. Or for my free modes ebook CLICK HERE
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
Why are the modes useful for the guitar player?
The modes [in this case of the major scale] open up the guitar fingerboard and it becomes easier and easier to connect arpeggios,
phrases, quartal, pentatonic and melodic lines together and create
smooth transitions across the guitar fingerboard.
The first example below consists of connecting the arpeggios contained within the modes. Here we have f major 7 to Dminor 7 to B Minor 7 flat 5 to F major to E minor 7 and finishing with B minor 7 flat 5 [or G9 depending on the bass note]. The Modal connections are smooth and open up the guitar fingerboard easily!
Below you will see how easy it is to connect together arpeggios and then create triad pairs from them.
Modal Arpeggios Lesson Example
Again, more arpeggio connections from the major modes
Modal Arpeggio connections
Below, a mix of arpeggios and triad pairs from the modes
Modal Triad Pairs/Arpeggios
QUARTAL HARMONY. JOHN COLTRANE 4THS DEVELOPED FROM THE DORIAN MODE. THIS IS HOW YOU GAET THAT JAZZY SOUND!
Modal Quatrtal Chord Lesson/Example
D Minor to E minor
Modal Quartal Chords Example
Simple quartal dorian mode jazz/fusion vamp
Modal Quartal Chord Vamp Example/Lesson
Below is a simple pentatonic line from the major mode to play over a dominant G 7 chord
Modes of the Major Scale Blog
Finally an extended F major 9 extended line from the major mode
Music Modes of the Major Scale Lesson/Example
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
John Mclaughlin Alternate Picking Jazz/Fusion Guitar Lick/Lesson
This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.
Alternate Picking Mclaughlin Lick in Parts.
The first part is built from simple Pentatonic cells.
John Mclaughlin Guitar Lick
The second part uses scale fragments 4ths, and Arpeggios
John Mclaughlin Guitar Lick
The last part Uses 4ths and a Pentatonic Shape
John Mclaughlin Guitar Lick
Full Score of Lick:
Alternate Picking John Mclaughlin Guitar Lick
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THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS
Basic Rhythms
THE FIRST ALTERNATE PICKING RHYTHMIC SET-UP EMPLOYS THE 8TH NOTE AND TWO 16TH NOTES. THIS IS A USEFUL RHYTHM AS IT GIVES YOUR PICKING RIGHT HAND A MOMENT TO SET UP THE “UP STROKE” AND FIRE THE PHRASE FORWARD LEADING TO A Â SMOOTH ALTERNATE PICKING LICK/LINE.
Alternate Picking Guitar Set-up
THE NEXT RHYTHMIC SET UP EMPLOYS A DOTTED 8TH NOTE AND A 16TH NOTE. AGAIN THIS SLIGHT DELAY BEFORE THE PHRASE TAKES OFF GIVES YOUR RIGHT HAND TIME TO FLICK UP AND FIRE OFF THE PHRASE WITH CONFIDENT ALTERNATE PICKING.
Alternate Picking Guitar Set-Up for Jazz/Fusion Improvisation
THE PHRASE BELOW IS THE “OFF-BEAT” PHRASE AND IS ONE OF THE MOST IMPORTANT BECAUSE IT CREATES ANTICIPATION AND SYNCOPATION IN YOUR ALTERNATE PICKING WHICH IS ESSENTIAL FOR JAZZ AND FUSION GUITAR PLAYING. [AS I SUGGEST IN THE VIDEO YOU WILL FIND THIS A LOT IN THE JOHN MCLAUGHLIN ALBUM/CD CALLED “BELO HEROZONTE]
In this lesson we will look at alternate picking arpeggios with simple 2 finger concepts. When playing clean/acoustic jazz fusion or Indian style Raga Shakti lines the Rhythm is everything so arpeggios have to be picked correctly and in time.
The Tab/Notation and the video above gives all the info to get started now! Good Luck!
Exercise 1: Two finger arpeggio Ascending and Descending
2 Finger Guitar Alternate Picking Arpeggio
Exercise 2: Pentatonic Variation
Pentatonic Variation
Exercise 3: Minor 9 Variation
Exercise 4: Descending Simple two finger Arpeggio
Descending 2 finger arpeggio for alternate picking guitar
In the above video we look at a few useful ideas for picking Bach baroque lines with the guitar pick. Below these are presented in music notation and guitar tablature
Mode 4 Improvised line: 
