Please watch video above for detailed info:
Hi Guys,
Just, a quick response Blog to a video I made about employing the “Open” [2nd] string ascending with alternate picking guitar technique.
Why do this?
The main reason that this works, is because it is an “Even” grouping, and, by plucking the open 2nd string it gives the fretting hand a fraction of a second to relax and get into position.
This in turn gives us some natural and excellent leverage. This also, means that we have the “Up” stroke to descend with.
This technique works really well for the precise picking passages both in Fusion and World Music, like, for example the precise lines of McLaughlin’s “Shakti” compositions.
This extra note, or even pattern, works in principle like a Be bop scale in that the extra note creates a smooth picking line for the right hand.
EXAMPLE 1:
4 note “Even” Pattern:
Here, we can see the employment in action by crossing with the open B string on the “Upstroke”.
This gives us, the 4 note “Even” grouping.
EXAMPLE 2:
In this example, we can see where the “Up” stroke occurs, which, sets us up nicely to descend:
Here, is the whole scale passage.
Also, notice that the open B string is “Off” the beat.
EXAMPLE 3: Descending:
There are, other open strings that we can exploit. But, for the sake of a quick response blog we will just look at one more idea and that is for descending:
Here, will will pluck the open G string and then add a chord. [Again, notice the the open string is off the beat]
Finally, let’s extend this:
Conclusion:
This is only touching the surface. There are many variations on this and any string can be employed both ascending and descending.
Now, you might say what if the open B note isn’t in the key? Well, this doesn’t matter as it is only one note and can add colour. John McLaughlin does this to great effect. Also, due to the picking and the velocity the ear of the listener is not really affected, it’s very difficult to tell.
Lastly, this is not a shred gimmick or a means of tremolo picking and trying to play fast. It is a concept for really precise picking awkward lines, when, for instance you are doubling with a Sax or Piano or as a Rhythmic “Shakti” style line with a tight drum/drummer/percussionist.
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