Synching Picking Strokes with Beats

by Ulrich
(Hamburg, Germany)

Hi Mark!

Your'e such a wonderful teacher, I learned a hell of a lot from your youtube clips. Just a lot more accessible than almost all of the other youtube lessons, especially for a intermediate player.

I posted this question below a youtube clip, but repost it here as it seems a more appropriate place:

I'm struggling with my bebop/ swing feel and my timing, and was wondering whether you would suggest synchronizing downstrokes with downbeats and upstrokes with upbeats. I heard some people suggesting that and I gave it a try, but at first it seems a bit unusual and actually quite hard to do for me, as I was taught to use strict alternate picking up to now....

Maybe you could give me your thoughts on that...

Thanks alot for sharing your knowledge!!

Best, Ulrich
______


Hello Ulrich,


Thank you for the nice words. Once again, I'm glad the website (and its content) can help you improve your jazz guitar playing.

Your question is extremely relevant and I'm surprised I've never discussed this matter on the website yet.

The simple answer is : yes!

At least in practice, you have to pay attention to the pick strokes. Synchronizing the pick with the beats is important not only for time/timing issues but also in jazz guitar phrasing.

---

First Exercise

Let's start with a simple example (play and count at the same time):

Play a C6 arpeggio (C E G A) in quarter notes : all downstrokes (on BEATS "1 2 3 4")

Then play a D diminished 7th arpeggio (D F Ab B) on upbeats : all upstrokes (on BEATS "and, and, and, and")


By mixing the above two examples we get the C "major bebop" scale :

C D E F G G# A B | C

Play and count like this :

1 & 2 & 3 & 4 & | 1


This is alternate picking at its best!



Now imagine we played the same scale but omitting the first note :

D E F G G# A B C

A "strick alternate" method (from rock guitar playing) would have you start with a downstroke! In the context, it doesn't make sense since the first note "D", is on an upbeat :


--- D E F G G# A B | C

Play and count like this

(1) & 2 & 3 & 4 & | 1


You have start the scale on "D" note with an upstroke (and finally "land" on C on the next "1" with a downstroke)

It's, in fact, a physical way for you to "keep your place" in time. It keeps the picking hand "in synch" with the original arpeggio (first example) in quarter notes. (for any scale!)

It's beyond alternate picking. It's even more strict (!) than what you are doing right now!

We could call it "synchro-alternate" picking.

With practice and some time, it will begin to feel natural.

---

Picking Hand Metaphor

Here's a beautiful metaphor :

Consider that your hand is a "picking machine" : whether you play a note or not, the pick keeps the same "up down" motion for downbeats and upbeats.

You can jump in and out of playing and it will always maintain the same direction.

Now, try to play the C "major bebop" scale again (or any other scale that has 8 notes...)

First, play every note, then try to leave out the some notes on specific beats.

Example :

C D E (F) G G# A B C
(don't play the F)

Practice this exercise slowly and remove more and more notes to the scale. The picking hand should have a strict "up down" motion as if it is picking everything ... but it's not!

---

Exceptions in Context

Of course, once you master that simple concept, you will make obvious exceptions to fit the context. It's always a matter of context...

For example, you may want to "dig in" with all downstrokes for a more aggressive passage.

To better hear/feel/see those exceptions, you should try and break the rules on purpose! (so you can feel the difference)

---

SLOW!

Finally, I recommend you practice this picking method as slow as possible. If it's new for you, take it very slow at first.

And I mean SLOW!

Let's say you wanted to play that exercise for me very slowly. Imagine me (or any teacher) say to you : "Ok good. Now do it twice as slow."

That's more like it!

It has to be so easy you get bored... then you speed it up a little. If you make mistakes, slow down again.

It's the only way your body/ears will REALLY internalize the sounds and motions.


I hope this helps,
Practice Well,

Marc-A