Alternate Picking Exercises for Guitarists

Straight alternate picking through the 3 note-per-string G ionian scale. Nothing complicated in this first example. We are simply alternating strokes through each note of the scale ascending and descending.

A common mistake among guitar students; Somewhere along the line, either when crossing strings, or in the turnaround descending, often times I see a double downstroke in there. Always alternate your picking strokes. Pay close attention to your picking hand the first few times through.

Here we're winding our way up through the G ionian scale shape in groups of 2 and 4 string sequences.

This is a great multi-directional exercise that also helps to memorize the scale shape if it happens to be new to you. As always, pay close attention to your picking direction when crossing strings.

This next sequence can be a bit tricky at first. Here we are picking our way through the scale in diatonic thirds. Starting on the G note, skip A, pick B, pick A, skip B, and so on, through the Ionian scale. Diatonic 3rds means we always play a Major or minor 3rd interval but within the confines of the scale tones.

As with any of the alternate picking sequences in this exercise, you could also start on an upstroke to further develop your alternate picking. It may not be as practical or comfortable for everyday playing situations, but it does help fluidity in the picking hand.

Yes, I meant ‘fours’ not 4ths. In this sequence we are playing 4 notes in order from the root (G). Then starting on the next note (A), playing 4 more notes up and eventually back down the scale.

I think it’s safe to say, this exercise is a bit more comfortable than 3rds for most guitarists. It’s also a familiar sounding pattern that you’ve probably heard in lots of Rock, Metal, and Progressive guitar music. 

This exercise, (or some variation of it), has been a staple in alternate picking instructional materials for over 30 years. Paul Gilbert taught a similar exercise when he was a guitar instructor at G.I.T at the Musicians institute in Hollywood, CA. Paul also included it in his first instructional video in 1987.

Over the years, I’ve heard this lick pop up in various forms from a few different guitarists, all of whom have one thing in common; excellent alternate picking technique. The earliest forms I’ve heard were recorded by Al Di Meola in the early 1970s on the first few Return to Forever records.

I’ve taken this basic two-string concept of outside alternate picking, and arranged through string pairs using the whole scale. I like to practice it this way because it gets my pick used to all of the pairs of strings rather than just the high strings (like the Gilbert version).

This one may take some getting used to but it is well worth the effort!

In some of my past lessons, including The Modal Workout where I outlined a similar exercise, I’ve stated that this is one of my favorite sequences. It is one which I use myself in my own improvisations and the one that I feel is the most musical of the sequences in this Ultimate Picking Exercise.

There are many ways in which we can incorporate arpeggios into our playing. I like ‘finding’ them within a shape I’m already familiar with. Without leaving the Ionian shape, we can find all of the arpeggios in the key of G Major including:

GMaj7, Bm7, CMaj7,Em7, F#m7b5, Am7, Bm7, D7.

Yes, they are out of order, however, once you start the sequence you’ll see why. I’ve created a simple pattern that repeats across three strings moving in diatonic 3rds and 4ths ascending through the scale. It’s a neat way to wind through the scale without it really sounding like a scale at all.

This next picking sequence is similar to the previous. The difference is that I start a new arpeggio on the pinky note of each string. This ‘doubles’ up the number of arpeggios played in each modal scale.

The fun really starts when you apply this pattern to the modes that follow in the key of G. You’ll find the same arpeggios and similar fingerings, but in a different order each time. Cool!

Alternate picking on its own is fine but we don’t want to leave that fretting hand out. In this example, we’re only picking the first note on each string, hammering the remaining notes with the fretting hand fingers.

The pick in this case is used more to push off the left hand notes creating just enough sound to start the sequence on each string. When descending the pattern is reversed and you’ll pull off the notes. Remember when pulling off to plant the fretting hand before picking the first note.

In this next example we will attempt to play in a legato style by letting the notes ring into each other without any space between. Each pair of adjacent strings creates a nice long line that can be wound up ascending through the scale shape. 

Practice this one slowly and pay close attention to your alternate picking when crossing strings.

You may have noticed on the sheet music, there is a break where the triplet section starts. There are 2 ways you can approach this depending on your skill level.

If you’re comfortable playing 16th note picking patterns at around 100 BPM, you may feel better slowing the triplet section down about 25%, or around 75 BPM.

Alternatively you could just shred your way though this at full speed! Whatever works for you. Whichever you choose, use a metronome and keep your timing together throughout.

Playing in 3/4 or 6/8 is different than playing triplets in 4/4 time. Pay attention to the number of notes you see in each measure. Avoid the TAB if possible and adjust your eyes to the rhythmic values of the notes in the standard notation on top. 

In Classical music, a pedal point is a sustained note, often in the bass, during which at least one additional diatonic note or harmony is sounded in succession. There are several types of pedal points including Internal and inverted Pedal Points.

Blah, blah, blah, who cares right? They make amazing alternate picking exercises for guitarists!

For this alternate picking finalé, we’ll be dealing mostly with Internal and Inverted pedal points; those which travel in both directions, using both bass notes and high repeating scale tones.

Pedal Points can take some time to get used to and can be quite difficult for even the most advanced guitarists. I saved this one for last for that very reason.

Note: As with the triplet example, the full PDF includes more pedal point variations.

Alternate picking pedal points on guitar presents some unique challenges. String skipping with outside picking, being chief among them.

There are other ways to pick this descending pedal point sequence. You could hybrid pick it ala Eric Johnson for example. 

Since this is an alternate picking exercise, let's stick to the meat and potatoes here. Alternate picking using 'outside' picking.