STUDY

GUIDE

Martin Miller
Guide To Picking, Part 2:
Mechanics, Speed And
Swing

JTCGUITAR.COM
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing 2

INTRODUCTION

Welcome back! This is Part 2 of my Guide to Picking. At first,

we’re going to be looking at swing and shuffle.

If you haven’t studied these topics before I strongly recommend going

back to the RDAP (rhythmically dependent alternate picking) and
articulation sections of Part 1. You’ll benefit greatly from having a solid
grasp of these skills in all the upcoming chapters. My goal with my
tuition and practice is always to reinforce my foundation skills as much
as possible before working on more surface-level skills.

Later in this part, we’re going to look at various picking-related

mechanics and examine the science of playing fast, also giving you
practice ideas that will get you on track to improving your technique.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing 3

CHAPTER 1

SWING & SHUFFLE

1.1. EXPLANATION

Within this chapter, I want to cover a topic that is very

common among jazz players in particular, but that other
players can benefit from should they decide to dig a little
deeper.

While the term “swing“ has many definitions, we‘re going to be looking at it
as a rhythmic device:

“The term “swing”, as well as swung note(s) and swung rhythm, is also
used more specifically to refer to a technique (most commonly
associated with jazz but also used in other genres) that involves
alternately lengthening and shortening the first and second
consecutive notes in the two-part pulse-divisions in a beat.”
- Wikipedia

The way this usually plays out in a jazz scenario is that equally subdivided
8th notes are turned into a triplet based subdivision, where the first note of
each beat is a quarter note triplet and the second note an 8th note triplet.

Alternatively, you could think of it as an 8th note triplet, an 8th note triplet
rest and another 8th note triplet.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 4

Now that we’ve had a look, let‘s have a listen! The following example
consists of a few bars of straight rhythm and a few bars of swing rhythm for
comparison.

See tab/video: Example #1 – Straight & Swing

Writing every single set of swing 8th notes as a triplet containing a quarter-
note triplet and an 8th-note can be pretty messy and difficult to read.
Therefore you‘ll encounter this symbol a lot. This tells you that all 8th notes
are to be played as 2+1 triplets: long-short. Swing!

Straight rhythms are sometimes referred to as “binary” rhythms, as they‘re

based on an even-numbered subdivision. Conversely, swing rhythms are
“ternary” rhythms, due to their subdivisions being based on triplets, with
three equal divisions.

The phenomenon of 8th-note swing is most commonly found in jazz but also
certain styles of blues. Now, what does all of this have to do with picking?
Well, we‘ve previously established that your picking hand is leading your
timing and rhythm. Swing is a very particular rhythmic device and the quality
of its execution will largely depend on how well coordinated your picking is.

As mentioned in Part 1, to serve the rhythm, your picking hand should almost
function like clockwork. This is yet again another scenario, where a certain
degree of mastery of rhythmically dependent alternate picking (RDAP) is
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 5

extremely useful. To keep consistent swing, your picking hand should move
down on downbeats and up on upbeats, with the only difference being that
the notes aren‘t spaced out evenly. Therefore, to get into the groove with this,
you should spend some time just repeating one note over and over to a click,
before applying this skill to lines.

1.2. DEGREES OF SWING

Being able to play swung 8ths to a click is one thing. In reality, this tends
to play out a little differently. Depending on which style and era of jazz you
listen to you‘ll encounter varying degrees of swing. More modern jazz players
like Mike Stern or John Scofield will place their notes somewhere between
being perfectly straight or “tripletised”. These nuances can‘t be notated and
have to be experienced through thorough listening. This phenomenon is
often referred to as “swing feel” and will vary depending on the style, tempo,
era, piece of music and performers. It is therefore very important to gain the
ability to access these varying rhythmic feels to be able to adapt to different
musical situations.

Let me give you an example that starts with straight 8ths, then moves to fully
swung 8ths and then slightly swung 8ths.

See tab/video: Example #2 Degrees of Swing

You might find that fully swung 8ths can potentially sound a little dated and
nailing the right amount of in-between swing can be really “hip”. The tempo
of the piece of music plays a huge role in the way 8th notes play out. The
general rule of thumb (although you‘ll find many exceptions to this rule) is
that the lower the tempo of the music is the more you swing and vice versa.
Therefore I‘ve recorded an example of the same line played at a ballad-
like tempo, as medium swing and then at uptempo. Pay attention to the
distances between the on-beat notes and the off-beat notes.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 6

See tab/video: Example #3 Swing & Tempo

1.3. OFF-BEAT ACCENTUATION IN SWING

I want to draw your attention to a few more nuances. So far we‘ve looked at
swing as a purely time-based variable, but a big factor in whether something
“swings” or not is accentuation. We‘ve previously touched on off-beat
accentuation in Part 1, Chapter 2.3. This is a crucial skill to develop for a lot
of jazz and groove-based styles. Listen to how jazz sax and guitar players
(especially the more modern ones) tend to emphasise the off-beats in
combination with moderately swung 8th notes.

Previously, we discussed achieving this by placing your slurred (legato)

notes on downbeats and picked notes on upbeats. It also works if you
pick all notes. In this case, pick the upbeats slightly harder. This is where
swing, off-beat accentuation and rhythmically dependent picking all create
a synergy that leads to a musically pleasant result. Similar to the varying
degrees of “tripletisation”, off-beat accentuation also tends to occur more,
the lower the tempo is.

For comparison, here’s a few renditions of the same set of notes:

1. All notes picked, downbeat accentuation

2. All notes picked, offbeat accentuation through harder picking (Mike
Stern style)
3. Picking & Legato, offbeat accentuation through slurred notes (Pat
Metheny style)

See tab/video: Example #4 – Swing Off-Beat Articulation

One thing to keep in mind is that this sound is very difficult to achieve with
strict legato due to the lack of accentuation and with picked notes occurring
arbitrarily within the bar. Also, economy picking can make this a lot harder,
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 7

since the flow of your picking hand is interrupted due to the occasional
misalignment of rhythm and picking direction. This can hinder your timing
and ability to consistently accent off-beats. Some players can do these
things masterfully but for most students trying to get into this way of playing
can make things more difficult. My recommendation is to develop a good
sense for swing and off-beat accentuation through rhythmically dependent
alternate picking before starting to explore other means of execution.

1.4. “LAYING BACK”

This last piece of detailed swing analysis addresses the exact placement of
the notes on the grid, also often called “micro timing”.

Again, depending on the tempo and various other factors, you‘ll find that
many jazz soloists tend to play their notes a little late. In jazz jargon, this is
called “laid back” playing. It creates excitement through the friction of the
micro timing within the band: the drums tend to be more on the grid, while
the melody lines are more laid back in comparison. As a guideline remember:
the slower the tempo of the music, the more of a tendency there is for
players to lay back. I‘ve recorded the same line at three different tempos and
different levels playing behind the beat to exemplify this:

See tab/video: Example #5 – Degrees of Laying Back

Next up I‘ve compiled some more examples of lines in increasing difficulty,

that will help you develop your swing.

See tab/video: Example #6 – Swing Lick 1

See tab/video: Example #7 – Swing Lick 2

See tab/video: Example #8 – Swing Lick 3

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 8

Listening and experiencing this stuff is more valuable than any written
analysis. So here‘s a few examples I want you to listen to, referring to
specific features:

• “In The Mood” by Glenn Miller Band (very triplet-y swing)

• “Saxophone Colossus” (album) by Sonny Rollins (more moderate swing)

• “Straight No Chaser” by Mike Stern (extremely high tempo, less swung,

timing on beat)

• “Turnaround” by Joshua Redman (Pat Metheny on guitar, medium tempo,

pronounced off-beats, very laid back timing)

Apart from listening, one of the best ways to develop “swing awareness”
(and the facility to actually do it) is to play along to recordings by masters of
the craft. Try to “glue” yourself to their time feel as much as you can. Also, by
recording yourself and listening back, you gain invaluable feedback on how
well you‘re doing.

1.5. SHUFFLE & SIXTEENTH-NOTE EXAMPLES

Another term that is often mentioned in relation to this subject is “shuffle”.

There are multiple definitions to this and they can be a little vague. For
example, you could refer to swing 8th notes as being shuffled.

“Shuffle” can also refer to a very specific type of drum beat. Often it refers
to a swing rhythm that is highly “tripletised”. Other times musicians will call
ternary (triplet-based) 16th notes as shuffled, and that is our next subject of
study.

16th-note shuffle rhythms occur more commonly in backbeat-driven styles

of music such as rock, fusion, funk or hip-hop. The notation symbol explains
the theoretical idea behind it and looks like this.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 1 9

The concepts are exactly the same as with 8th-note swing. You‘ll encounter
different degrees of shuffle, off-beat accentuation and laying back depending
on the tempo and other factors. The main difference here is that the music
itself will provide downbeats for every fourth note as opposed to every
second note. This may take some time to get used to.

See tab/video: Example #9 – Shuffle Lick 1

See tab/video: Example #10 – Shuffle Lick 2

See tab/video: Example #11 – Shuffle Lick 3

Listening examples:

• “Button Up” by Greg Howe (strongly shuffled)

• “If I Ever Lose My Faith in You” by Sting (slightly less shuffled)

• “Cissy Strut“ by The Meters (even less shuffled, shuffle is changing

organically throughout the different sections)

• “Tipitina’s“ by Mike Stern (only slightly shuffled)

• “What Should Be the Lick We Use” by Mike Stern (Taken from an obscure
Guitar Techniques video, which you can find online. The best example
I can think of to exemplify soloing over a 16th note shuffle with a good
portion of laying back and off-beat accentuation.)
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing 10

CHAPTER 2

PICKING MECHANICS
2.1. INTRODUCTION

Next up I want to briefly look at some of the most common

picking mechanics I use in my playing.

A lot of the terminology used here is based on Troy Grady‘s “Cracking the
Code and Masters in Mechanics” series, however, the explanations are much
simplified and far less in-depth. I‘m focusing largely on my approach and my
aim is to provide you with exercises and etudes that progress your playing.
If you want to dig deeper into the analysis of the core picking motions Troy‘s
resources are invaluable for that.

You‘ll find all kinds of other picking mechanics, different from mine, that
produce great results. I developed my approach intuitively through trial and
error and only in recent years have I started to dissect them to communicate
their intricacies to my students. So, despite all the information provided,
it’s worth spending a good amount of time experimenting by yourself.
This chapter is mostly based on mechanical observations. Part 3 of the
masterclass will give you plenty of exercises and of course, there are hands-
on exercises (etudes) at the end of each part.

2.2. SINGLE ESCAPE (LINEAR PICKING) VS. DOUBLE ESCAPE

(CROSSPICKING)

2.2.1. DOUBLE ESCAPE (DBX)

I generally divide my alternate picking into two types of motions. The

main one is cross-picking, using so-called “double escape” strokes. In my
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 11

opinion, this is the best-sounding alternate picking motion, and it’s the most
flexible when it comes to the application of different melodic patterns.
When alternating between down and upstrokes, the pick moves in a semi-
circle or pendulum motion. The idea is that each pick stroke clears the
string, continuing into the air. Thus every pick stroke “escapes” the string
and enables you to either play another note on the same string or move to
another string, regardless of whether you’re on a downstroke or upstroke.

This makes it possible in theory to play any combination of notes with any
amount of notes per string. In my case, the motion is dominated by wrist
flexion and extension with the support of the thumb in lifting the pick above
the strings. Apart from the flexibility, you‘re rewarded with a beautiful,
resonant sound, where you can give each note its personality by adding
subtle variations to the motion. The main drawback is speed, because your
picking hand is going through a wider range of motion. I find that the top
speed is much lower than other approaches.

Here‘s a single note picked repeatedly using DBX.

See tab/video: Example #1 – Double Escape Picking Single String

... and then a line moving across several strings using DBX.

See tab/video: Example #2 – Double Escape Picking String Crossing

2.2.2. LINEAR PICKING

My other preferred method of alternate picking is linear picking. Unlike in

cross-picking, the pick here travels in a straight line, in my case using mostly
a forearm/elbow motion (although this can be achieved with the wrist and
other mixed motions as well). The result is a much higher potential for
speed. The drawback is that string changing is less flexible and requires a
few “workarounds”, which we‘ll get to.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 12

To be able to switch strings, the linear motion has to happen diagonally

angled to the body of the guitar, so that one stroke direction pushes the pick
into the strings, the other one pulls it away from the string. The latter clears
the pick into the air, so you can make it travel to the next string. If you want
to be able to change strings flexibly on both down and upstrokes you need
to be able to access two types of mechanics that fall under the category of
linear picking.

The first one is the upstroke escape (USX). For starters let‘s perform a
downstroke on the G-string using this technique: start with the pick in the air
above the G-string and orientate (slant) the back of the pick slightly towards
the floor (the tip of the pick will slightly point towards the ceiling). Perform
the downstroke and let it move towards the string in a diagonal line. After
picking the string let the pick fall into the higher string (B-string).

This rest stroke probably wouldn‘t necessarily happen in a normal playing

scenario where many but not all players make smaller, more efficient
motions. When you first become aware of these mechanics though, it is a
good idea to exaggerate them to gain a better understanding.

After the downstroke is complete, pick the G-string with an upstroke, while
moving the pick diagonally away from the guitar and back into the air (your
initial starting point). This sets up the pick for a string change. Rule of
thumb: when using linear picking, use the upstroke escape motion if the last
note before a string change is an upstroke.

Two examples of USX, first a single note picked repeatedly:

See tab/video: Example #3 – Upstroke Escape Picking Single String

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 13

And then, moving across strings using USX:

See tab/video: Example #4 – Upstroke Escape Picking String Crossing

The second basic motion of linear picking is the downstroke escape

(DSX). To down pick the G-string, start with the pick trapped between the
D- and G-string. Orientate (slant) the back of the pick slightly towards the
ceiling (the tip of the pick will slightly point towards the floor). Perform the
downstroke on the G-string and let it move away from the guitar in a diagonal
line as it picks the string. The pick is now cleared into the air. This sets up
the pick for a string change. Rule of thumb: when using linear picking, use
the downstroke escape motion if the last note before a string change is a
downstroke.

After the downstroke is complete, pick the G-string with an upstroke, while
moving the pick diagonally towards the guitar, so you end up trapped
between the D- and G-string (your initial starting point).

So, just as we did with Examples 3 and 4, here’s a single note picked
repeatedly using DSX:

See tab/video: Example #5 – Downstroke Escape Picking Single String

And then, moving across strings using DSX:

See tab/video: Example #6 – Downstroke Escape Picking String Crossing

NOTE: watching great players perform these motions can be an important

learning experience. The reason for that is the brain’s “mirror neurons”. So sit
back, watch and absorb these motions!
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 14

“A mirror neuron is a neuron that fires both when an animal acts and
when the animal observes the same action performed by another
Thus, the neuron “mirrors” the behaviour of the other, as though the
observer were itself acting.” (Wikipedia)

2.3. SWEEP PICKING & ECONOMY PICKING

The terms sweep picking and economy picking are often used
interchangeably. The distinction in their definitions often isn‘t 100% clear
so I will try to explain to you the differences based on several decades
of personal experience. Other definitions may vary slightly or have no
distinction between the terms at all.

2.3.1. SWEEP PICKING

Sweep picking broadly refers to an approach to picking, where multiple notes

are picked consecutively across adjacent strings using a single stroke. In a
way, this is very similar to strumming, except that in sweeping the goal is a
clear separation of the individual notes that are being picked. This means
that the left hand has to press down and release notes according to what the
right hand is doing to prevent notes from smearing into each other (or vice
versa if you‘re playing left-handed).

One of the main differences between alternate picking or strumming to

sweep picking is that sweeping is a so-called “trapped motion”. With double
escape (a category which strumming belongs to) or single escape motions,
the pick is set up to clear into the air to enable string changes. In the case
of sweep picking the pick will glide through the strings and not clear out of
the strings unless it is combined with other techniques (see the economy
picking for instance).
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 15

Due to the nature of the technique, it is most commonly used to execute

arpeggio based lines that layout in a 1nps (1-note per string) pattern across
several adjacent strings.

Let‘s have a look at the core sweep picking motion.

Sweeping up. Note that I’m referring to an upward direction in pitch, so we’re
using downstrokes:

See tab/video: Example #7 – Sweeping Up

Sweeping down (and therefore upstrokes):

See tab/video: Example #8 – Sweeping Down

Pay attention to the different angles in which the pick is slanted in these two
examples. The pick should be leaning towards the direction in which you‘re
picking to avoid getting stuck.

Here‘s an example where you change the slant mid-phrase:

See tab/video: Example #9 – Sweeping Down & Up

2.3.2. ECONOMY PICKING

Economy picking can be understood as a subcategory of sweep picking,

where the actual sweeping motion is used in a less isolated way but is
integrated fluidly with alternate picking or tied notes. It therefore can be used
in a much wider range of scenarios than pure sweep picking, which can‘t be
applied if you have more than a single note per string. In economy picking
you essentially try to apply sweeping wherever possible, though as soon as
there are two notes or more on a string, you‘re forced to stop the sweeping
motion and revert to alternating strokes or ties to keep the line moving.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 16

There are five scenarios for changing strings in economy picking:

1. If you‘re ascending adjacent strings and the last note on the lower string
is a downstroke you sweep.

See tab/video: Example #10 – String Changing Scenario 1

2. If you‘re ascending adjacent strings and the last note on the lower string
is an upstroke you alternate pick (inside picking – see chapter 3.4.).

See tab/video: Example #11 – String Changing Scenario 2

3. If you‘re descending adjacent strings and the last note on the higher
string is a downstroke you alternate pick (inside picking).

See tab/video: Example #12 – String Changing Scenario 3

4. If you‘re descending adjacent strings and the last note on the higher
string is an upstroke you sweep.

See tab/video: Example #13 – String Changing Scenario 4

5. For skipping strings you have to alternate pick (inside or outside) as

sweeping only works with adjacent strings (no need for an example here)

In doing this you essentially remove outside picking altogether, as whenever

you would outside pick you sweep instead and alternate pick through inside
picking string changes. The only exceptions are skipped strings. The core
mechanics of economy picking and sweep picking are identical, except
that they‘re more intertwined with other approaches. The ratio of swept vs.
alternate picked notes will vary greatly depending on your line.

Here‘s an example of economy picking, which is sweeping dominated:

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 17

See tab/video: Example #14 – Economy Picking Sweeping Dominated

Next, an example of economy picking, that is mostly reliant on alternate

picking:

See tab/video: Example #15 – Economy Picking Alt. Dominated

You can even play a straight diatonic scale up and down using economy
picking:

See tab/video: Example #16 – Economy Picking Diatonic Scale

Let‘s talk about the pros and cons of economy/sweep picking:

Pros:
1. EFFICIENCY – multiple notes can be played with the same stroke. This
particularly applies to 1nps (1-note-per-string) scenarios. Less muscular
engagement on otherwise difficult passages.

2. TONE – the sound produced is often described as smooth, as opposed to

the more rigid sounding alternate picking.

3. WORKAROUND – economy picking provides a workaround for outside

picking, should you struggle with it.

4. IMPROVISATION – since you always follow the shortest path to the next
string, it can be used very intuitively in an improvisational context. Often I
find myself having to work out the way I cross strings when alternate picking,
depending on how the line lays out across the strings.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 18

Cons:
1. FLOW – both techniques can disrupt the flow of rhythmically dependent
alternate picking and therefore remove its benefits.

2. TIME-FEEL – you tend to have less control over the nuance of where you
place notes on the rhythmic grid. The moment when the pick sweeps through
the string can be harder to determine. When you alternate pick you tend to
have more motion and sensations to latch onto. Often players tend to rush
when sweeping across multiple strings, especially during medium tempos.

3. SWING – it is very difficult to consistently swing with the economy picking

as the motion itself is not consistently down and up but sort of random
(depending on the situation).

4. ACCENTUATION AND ARTICULATION – accenting up-beats

consistently becomes near impossible. Downstrokes tend to sound like
accents by nature and they fall randomly onto the rhythmic grid. Thus
accentuation can sound all over the place if you‘re not careful.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 19

2.4. INSIDE & OUTSIDE PICKING

When you alternate pick you‘re going to encounter different types of string
changes, that not only differentiate themselves based on which escape
motion they use but also in which route the pick moves to the next string.
Here we make a distinction between the pick travelling around the strings
(outside picking) and within the strings (inside picking).

Examples:
1. Ascending outside picking: occurs when you move from a lower string
with a downstroke to a higher string with an upstroke.

2. Descending outside picking: occurs when you move from a higher string
with an upstroke to a lower string with a downstroke.

3. Ascending inside picking: occurs when you move from a lower string with
an upstroke to a higher string with a downstroke.

4. Descending inside picking: occurs when you move from a higher string
with a downstroke to a lower string with an upstroke.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 20

Inside and outside picking feel physically different and a lot of players will
be biased towards one or the other. Some players even rearrange the most
challenging passages to fit their preferred way of crossing the strings. When
struggling with a picking passage, analysing how you cross the strings can
make it more accessible.

Here is the same stereotypical shred sequence played first with outside
picking and then with inside picking. As you can see, it all depends on
whether you start with an upstroke or a downstroke.

See tab/video: Example #17 – Outside & Inside Picking

I find I can reach a slightly higher speed limit with inside picking, so in this
specific scenario, I‘d opt to start the line with an upstroke for myself.

2.5. TOUCH

One very strong factor in determining how you sound is the touch of your
picking hand. It is crucial to create the right sounding attack depending on
the style of music you play, what guitar/amps/fx you play through and what
your artistic vision is.

There are several variables that you can mould depending on your needs:

1. Dynamics – picking with varying degrees of strength and/or velocity

creates different dynamic levels. You can also create more volume by
digging the pick deeper into the strings or conversely make quieter notes by
using the very tip of the pick to strike the strings.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 21

See tab/video: Example #18 – Dynamics

2. Palm Muting – the picking hand can shape the attack and sustain of
a note by muting with its palm. There is again an infinite amount of grey
shades between fully open and fully palm-muted.

See tab/video: Example #19 – Palm Muting

Palm-muting can be applied to most techniques (linear picking, arpeggiating,

double stops, legato etc). To do this you need to adjust your picking hand
position, so I recommend practising all these techniques separately in
combination with palm muting to get used to the difference in feel.

3. Tone – the timbre of a note can be shaped by the way you pick. For
example move the pick horizontally towards the neck pickup for a warmer
sound, move it towards the bridge for a brighter sound. Another factor is
how tightly you grip the pick. Holding the pick extremely tight will produce a
louder, harsher sound, whereas holding the pick loosely and merely brushing
over the strings creates a smoother, lighter sound. I also mentioned earlier
the difference in sound between linear picking and cross-picking, which can
be used to your advantage.

See tab/video: Example #20 – Tone

4. Harmonics – when using downstrokes you can get different harmonics

out of your notes. These so-called “pinch harmonics” are created by
hitting the string with the pick on a downstroke while immediately
touching a harmonic node with the side of your picking hand thumb nearly
simultaneously. Depending on how heavy-handedly you lean into the strings
with your thumb you can get anything from a fundamental with a barely
noticeable extra harmonic on top to a full-on, aggressive squeal and anything
in between. Keep in mind that you can produce different harmonics by
moving the picking hand horizontally along the string.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 22

See tab/video: Example #21 – Harmonics

The combination of all these things can produce wildly different results. I
switch into different playing “modes” when I play jazz or rock, to mention two
extremes. Here‘s an experiment: I played a metal-style line with distortion
and then a jazz-style line with a clean tone. For each line, I adjusted my
playing “touch” to suit the style of music and the amp/pedal tone.

See tab/video: Example #22 – Jazz & Metal Touch

Now, I recorded my direct guitar signal from the previous example, so I

can simply reverse the amps/pedals. Now you’re hearing my “metal touch”
through a jazz rig, and my “jazz touch” through the metal rig:

See tab/video: Example #23 – Jazz & Metal Touch (reversed rigs)

I hope you agree with me, it doesn’t sound quite right. This supports my point
– you have to find the right touch for the music you play, as well as your
choice of gear.

2.6. ARPEGGIATING

Most players default to have their picking hand rest on the body of the guitar.
This is especially conducive to single-note playing, where you want any string
besides the one you‘re currently playing to be fully silent.

On the other hand, when arpeggiating chords you‘ll most often want as
many if not all strings to ring out clearly. For this to happen you have to
lift your picking off the strings, resulting in a different hand position and
coordination. There are several ways in which you can arpeggiate a chord
across all strings when it comes to the choice of picking directions and core
motions.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 23

1. Alternate Picking (Double Escape Picking)

Use a double escape picking motion with alternating pick strokes while
floating with your picking hand.

See tab/video: Example #24 – Arpeggiating with Alternate Picking

2. Consecutive Strokes

Use consecutive down- and upstrokes. Every stroke is a discrete motion.

I like to change picking stroke directions on the second to last note that
is moving in the same direction, e.g. when ascending from the low to high
E-string I prefer to pick the high E-string with an upstroke before descending
back to the low E-string.

See tab/video: Example #25 – Arpeggiating with Consecutive Strokes

3. Sweeping

Arpeggiated chords can also be executed with a sweeping motion. This

is especially helpful whenever you want to play them very quickly and/or
without a strictly defined time feel.

See tab/video: Example #26 – Arpeggiating with Sweeping

2.7. STRUMMING

Chances are that strumming is the first right-hand technique you‘ve ever
learned on the guitar. Similarly to arpeggiating it is done with a floating
picking hand. The strumming motion, depending on the player, of course, is
often a mixture of forearm and wrist motion, with the forearm being the core
motion and the flexion and extension of the wrist “finessing” the pick along
the strings.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 24

Good strumming is hugely dependent on a consistent flow of your right-

hand motion and therefore benefits largely from using proper rhythmically
dependent picking, such as described in Part 1, Chapter 1.

See tab/video: Example #27 – Strumming with RDAP

When working on strumming pay attention to timing, different dynamic

layers and dead notes.

See tab/video: Example #28 – Dynamic Funk Strumming

Another interesting variable is the speed of your picking strokes themselves

(not the tempo). A slow rake results in a harp-like strum, while a fast stroke
makes the note sound like one block of sound.

See tab/video: Example #29 – Strumming Speed

You can also strum different parts of a chord, where for example you
separate the chord into a high and low segments and combine them for
different effects.

See tab/video: Example #30 – Strumming High & Low

The last example explores the potential of creating rhythmic accents through
the choice of picking directions, intentionally ignoring the consistent down
and up motion, you‘d normally use.

See tab/video: Example #31 – Strumming Rhythmic Accents

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 25

2.8. DOUBLE STOPS

The term double stop refers to two notes being played at the same time.
When playing double stops with the pick you can distinguish between two
basic approaches:

1. Trapped Motion

To start, you place the pick against the first string you’re going to hit. Let’s
say you’re playing a double stop on the G and B strings. If you’re using a
downstroke, you’ll hit the G string first, and if using an upstroke, you’ll hit
the B string first. This starting position has the pick “trapped” between the
strings. You then let the pick travel away from the guitar at a shallow enough
angle so you hit both strings. Make sure the motion itself is executed quickly
so both notes sound as close together as possible. Unless of course, you
want them to be slightly delayed from each other for a different type of
effect, in which case you rake the pick more slowly across the strings (same
as described in the strumming chapter).

If these two notes are on non-consecutive strings (B and D, for example) you
have to make sure your fretting hand mutes the unused string(s) in between.
Of course, the same guidelines apply when you play three or more notes at
the same time.

See tab/video: Example #32 – Trapped Double Stops

This technique tends to sound a little more percussive and can also be palm-
muted but yields less potential for speed than the upcoming method.

2. Strumming

Double stops can also be strummed, using the floating picking hand
as described previously. Here‘s the same example as before but using
strumming motion. Pay attention to both the difference in sound and
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 2 26

sensation when you play them side by side. When strumming be especially
aware of muting open strings with your fretting hand.

See tab/video: Example #33 – Strummed Double Stops

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing 27

CHAPTER 3

HOW TO GET FASTER

Learning to play faster is something that almost every guitar
player desires at some point, but a lot of us get stuck very
early in this journey.

In my opinion, few topics in guitar tuition are more misunderstood and

convoluted with false information and urban myths than the development of
speed.

Disclaimer: the topics I‘m about to discuss are extremely deep and highly
scientific. I‘m a guitar player, not a scientist, so I’m going to discuss these
matters in quite simplified layman‘s terms, from a practical music learning
point of view. My sources stem from scientific college lectures I‘ve attended,
literature, and of course my own anecdotal experience as both player and
teacher.

3.1. PRACTISING SLOW OR FAST?

I‘m sure you‘ve heard the phrase “start slowly and gradually build up speed”
countless times. That method is good for some things, but certainly not for
building sheer speed. This logic simply doesn‘t apply, in the same way, that
jogging won‘t turn you into a sprinter over time.

Of course, to develop speed you need some kind of base to build upon. On
one hand, this entails core technique: how you hold the pick, your exact
motions, the amount of tension, your overall posture and many things more.
On the other hand, there’s the music itself: you have to memorise the notes
and necessary movements, to the point where you don’t struggle and can
process them largely subconsciously. These types of things are often best
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 28

practised slowly, whether in improving a core motion or simply gaining a

deeper assimilation of a new phrase you‘re struggling with.

(However, there is something to be said about acquiring basic technique

through speed, as we‘ll find out a little later.)

It is not advisable to work on sheer speed when your slow or mid-tempo

playing is a mess. You simply drag that mess into higher tempos. The
difficulty is that a technique may produce great results at lower tempos, but
might not function at a high pace. This is why practising a motion slowly
doesn’t always guarantee you’ll end up playing fast. In general, I recommend
having solid, strong fundamentals before attempting to go full throttle. This
often gets overlooked when people criticise me and others who advocate
for practising fast. Whenever I advise somebody to play fast, I do of course
assume that their technical fundamentals are in place. However, if you
simply can’t overcome a speed barrier, there will be a set of tips for you in
chapter 3.2.

To help you understand speed, I’ll go on a (layman-scientific!) tangent here

and tell you briefly what’s going on under the hood when we play at various
tempos. When we play a single note the brain will send out a signal to the
muscles involved to perform the motion to create the note. After the note is
played the muscles send a signal back to the brain containing feedback: how
well the motion was executed, how good the execution felt etc. This is what‘s
called a feedback loop. In this case, we have an “open-loop”: in between two
notes at a slow or moderate tempo there is enough time for these signals to
go from the brain to the muscles and back to the brain. Therefore you can
apply changes to the technique on the fly to make conscious corrections.

The time for one of these cycles is fairly slow, somewhere in the millisecond
range, and here‘s where things get complicated. If you increase your tempo
beyond a certain threshold two consecutive notes will pass too quickly for
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 29

the signals to pass around the feedback cycle.

So why are we still able to push further? Well, the brain has a solution.
Instead of processing every single note individually the brain processes a
set of notes at once and packs them into a single signal. This neurological
process is often referred to as “chunking”.

For those of you who can play fast, have you ever noticed how when you
play a repeated group of four notes you only ever “feel” the first note of each
group and the rest just kind of falls into place? That is exactly what is going
there. Because we wrapped four notes into our chunk we only have control
over the first note. Try this exercise at a high tempo:

See tab/video: Example #1 – Speed Exercise 1

Since you only have conscious control over the first note of each 4-note
chunk it might kind of feel as if you were playing this, while the rest of the
notes “fall into place” seemingly by themselves:

At these tempos, there is not enough time for the muscles to send feedback
back to the brain in between notes. We therefore speak of a “closed loop”.
The fate of the rest of the notes is already sealed from the moment the
brain sends the chunk to the muscles – corrections can‘t be made within the
chunk, as you only receive feedback after the entire chunk is played.

Side note: the same thing happens in improvisations at high tempos, where I
tend to rely more on pre-learned building blocks, a few notes at a time. I find
that I can determine the general outline and direction of my improvised lines,
but the exact sequences of notes tend to be things that I‘ve pre-programmed
in the countless hours of practice.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 30

What does all of this mean in practice? It means that if you want to become
faster (and ultimately cleaner, although that won’t happen at first) you have
to exercise within the closed loop... in other words, practise FAST.

Even if you have good fundamentals and know your parts well, you‘ll have to
allow it to be somewhat sloppy until the brain optimises the chunk. What‘s
important is that you choose certain “chunking pillars” within a line to hold
on to. If we take this single string lick as an example, you‘d focus heavily on
the first note of every four-note group falling onto the musical downbeat,
while being played with a downstroke.

See tab/video: Example #2 – Speed Exercise 2

As long as these “pillar notes” line up rhythmically with both of your hands
you can trust that the brain is going to optimise what is going on with enough
practice time.

Andy James, one of the fastest guitar players I‘ve heard, mentions in
his interview on the Andertons YouTube channel that he was ignorant
and started playing very fast and sloppy early on in his development,
yet he recommends everybody else play slow and cleanly instead. My
recommendation instead is to do it exactly the way Andy did if your goal is to
play faster.

A phenomenon I observed with a lot of students is that a lot of times the

inability to play faster is strictly mental. We as players always want to feel
in control over what we‘re playing, but playing in the closed-loop means you
have to let go of a lot of that full conscious control and allow yourself to be
sloppy, too.
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 31

3.2. PRACTICE TIPS

Ideally, to get started with playing fast, you want to remove all additional
obstacles such as string crossing, difficult left-hand fingerings, etc. Another
important rule of thumb is to not tense up your muscles too much; your body
will otherwise engage other muscle groups to help out and you‘ll essentially
end up using the wrong technique. To do a lot of repetitions in a short
amount of time, while allowing the muscles a short period of relaxation, you
should practise in bursts of 4-9 notes with short rests in between.

Both the “Single String” and “Speed Builder” etudes in Chapter 4 are written
around these principles.

In conclusion, I choose between three different tempos for different practice

goals.

1. Slow: Practise slowly to examine your core technique and memorise

sequences of motion. When repeating passages over and over, I often
use this strategy: I shift my focus from one aspect of what I‘m doing to
another. For example, I first might pay attention to tone, then to timing, then
dynamics. After that, I might focus solely on how deep the pick digs into the
string, or what my pinky is doing while it‘s idle, etc. This is a great way to
keep your mind engaged when doing repetitive exercises.

By the way, by playing slowly I mean SLOWLY. Many students are surprised
when I demonstrate what I consider to be slow playing. This is almost a zen
kind of exercise where you go so slow that you can maintain full mindfulness
over all the parts of your body that are engaged in the playing process.

See tab/video: Example #3 – Speed Exercise 3 Slow

2. Medium: Pick a repeatable sequence of notes and a medium tempo

that you can sustain for several seconds without your muscles tensing
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 32

up. Repeat the exercise over and over at this “cruise tempo” and focus on
keeping your muscles relaxed, the tone steady and the timing tightly on the
grid. This is a great way to bury these motions deeply in your subconscious.

See tab/video: Example #4 – Speed Exercise 3 Medium

3. Fast: Practise in the closed loop. Figure out where the pillars of the chunks
are, on what beat they fall and what pick direction they‘re played with and
try to nail them right to the beat. Exercises should often be short bursts with
short rests in between. You probably won’t develop speed without pushing a
little beyond what you can play perfectly cleanly.

See tab/video: Example #5 – Speed Exercise 3 Fast

But what if you struggle getting over this speed barrier and can’t pick fast at
all? That is a case where practising fast instead of slow can solve an issue
you‘ve been grinding your teeth with for a long time. If a student has a hard
time finding a picking motion that‘ll allow them to play fast, sometimes my
best bet as a teacher is to ask them to play one single note repeatedly as
fast as they can. More often than not they‘ll use a different motion than
they‘re used to and will play 16th notes at 180bpm+ in an instant. Funnily
enough, they‘ll then tell me “yes, but that‘s not proper technique” to which
I respond “why isn‘t it?”. If this is the case, by all means, use the technique
that lets you play fast naturally. It might be messy at first but instead of
abandoning it, try to refine it.

To do so stick on a metronome in the 170-180bpm range and try to make

the picking line up as 16th notes. You can do so by putting an accent on the
first of every four 16ths. This will get you to rhythmically subdivide your fast
playing. Consider that if both your hands are rhythmically lined up you’ll be
playing in sync. Once your right-hand plays fast and you gain control over the
four-note chunks it is time to add different fretted notes into the mix. Pick
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 33

any single-string exercise. Use the above methods to get both your hands
to work together. Should your left hand fall behind in tempo, try playing the
exercises using hammer-ons and pull-offs with the metronome set to full
speed. Once your hands are synced up you can start incorporating exercises
that involve string crossing.

The topic of picking and playing fast seems to be clouded with several
“urban myths”. In this context, I want to say one more word about open-
mindedness. A lot of people who come to me for picking advice seem to be
carrying around these preconceived notions about what good technique is,
which ultimately keep them from experimenting and progressing. We already
tore a hole into “start slow and gradually build speed”.

But what about “play from your wrist, not your elbow/forearm”? There are
simply too many examples of great players, who pick fast from the elbow/
forearm or including the elbow at the very least. After all, the forearm
possesses more strength and endurance than the wrist, so it is an option to
be considered. In accepting this dogma as the truth you eliminate the option
for discovery.

Another claim that I find troublesome is that “you should be relaxed” while
you play fast. I’m not sure “relaxed” is the appropriate term to describe
a virtuoso executing their passages. There has to be a certain degree of
tension in the right spots to drive your playing mechanism to the extremes.
Are Olympic sprinters relaxed when going for world records? No. Are they
tense and cramped up? No. The key is to manage tension. The right amount
of tension in the right spots. You have to give the mechanics the drive
and force they require. Ideally nothing more and nothing less. There will
be a degree of tension and physical sensation involved when going to the
extremes of your picking speed. It’s yours to find out what part of what you’re
doing contributes to executing a passage and what tension is extraneous
or unnecessary. Let’s say you feel your shoulders tense up. Ask yourself if
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 3 34

involving your shoulders so much contributes to your picking or whether

you should erase that tension. Keep what’s necessary, remove what’s
superfluous.

CHAPTER 4

ETUDES, PART 2
4.1. ARPEGGIATING & STRUMMING ETUDE (DIFFICULTY 1/5)

See tab/video: Arpeggiating & Strumming ETUDE

This etude is divided into three main parts. The first section involves an
arpeggiated chord sequence using double escape picking with alternating
pick strokes like described in chapter 2.6., also with a little syncopation.
Make sure to position your picking hand so all the notes ring out fully – no
palm muting.

After that comes a strumming section. As always, pay attention to the

picking directions in conjunction with the rhythms. There is quite a bit of
finesse to the articulation in this. Listen closely to my recording to hear the
exact duration of each chord (which are staccato, which are held out a little
longer).

Lastly, there‘s another arpeggiating section that uses palm muting and
consecutive, discrete down- and upstrokes, so it‘s very different from the first
part. I used a timed 1/8th note delay on the recording for a cool cascading
effect.

4.2. HAND POSITION ETUDE (DIFFICULTY 2/5)

See tab/video: Hand Position ETUDE

Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 4 35

The Hand Position Etude is named as such because it is designed to go back

and forth between various techniques that force you to readjust your picking
hand position as you play through it.

The second etude is divided into three main parts. Refer to chapters 2.5., 2.7.
and 2.8. for more information on the subjects covered in this.

Section A moves between double stops (using trapped picking) and single
notes. There are even some strummed double stops in bar 4 and the bar
leading into section B introduces chord strumming.

The entire section B is based on transitioning between chordal strumming

and single note fills. Then section C finishes off the etude by asking
you to shift between muted double stops and single note fills. The long
country-inspired line at the end can be quite tricky to play! This etude also
incorporates the concepts described in the RDAP and articulation chapters
of Guide to Picking Part 1.

4.3. SINGLE STRING & SYNCHRONISATION ETUDE (DIFFICULTY 3/5)

See tab/video: Single String & Synchronisation ETUDE

The opening section of this etude uses a practice idea that is extremely
common in classical education of nearly every instrument. You play heavily
dotted rhythms, meaning one long note followed by a very quick note. The
idea is that while sitting on the long note you mentally prepare to play the
following two fast notes. You gain better synchronisation by giving both your
hands the signal to start playing at the same precise moment.

The following two sections are based around single string chunks that will
both cement your hand synchronisation at high speeds further while not
having to worry about string crossing mechanics. The broken-up chunks of
rhythms are a great learning device to gain speed (read chapter 3 to find
Mar tin Miller / Guide To Picking, Par t 2: Mechanics, Speed And Swing
CHAPTER 4 36

out why). These chunks are shifting in rhythm so make sure to count and
subdivide the notes carefully. The very last lick, in particular, can be a real
challenge as it covers a large percentage of the neck with position shifts.

4.4. SPEED BUILDER ETUDE (DIFFICULTY 4/5)

See tab/video: Speed Builder ETUDE

Similarly to the Single String Etude, this piece is largely based around short,
fast chunks of notes that utilise the closed-loop practice philosophy laid
out in Chapter 3. The difficulty here is much increased due to the constant
string changes. This etude mixes USX and DSX patterns. Make sure you
get comfortable with each of the picking sequences here individually and
examine which of the string crosses use USX and which use DSX (the
exercises in Chapter 2, Part 2 should help you, too).
 A
LS
O
AV
A
IL
A
B
LE
Martin Miller
IMPROVISATION MASTERCL ASS VOL.1

In this masterclass, Martin will take you step by step through his own process
of visualising the fretboard. Now you can learn to improvise as freely as
Martin, and solo like a true professional!

AVAIL ABLE NOW

J T C G U I TA R .C O M
 Example 1: Straight & Swing
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 140

BB B B B BBBB B B B DB B B F B B
Cmaj7

: 44 B B B B B BB
BBB D
1

( "! ) (
) "! ) )
c ( ( * "! ) * (
) * * "! "! ( "!

|<|<|<|< |<|<|<|< |<|<|<|< | |<

( "!
) "!

d
B B B B B B B B DB B B F B B
DB B B B B B B
Cmaj7

B B B B B
B B
5

( "! ) (
) "! ) )
( ( * "! ) * (
) * * "! "! ( "!

| < | < | < | < | < | < | < | < | < | < | < | < | | <
( "!
) "!

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 2: Degrees of Swing
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 140

B B B B
Straight

B B DB B B B B B B B B B B
Dm7 G7 Cmaj7
1

: 44 P

) &
' & &
c ( & ' ( & % % ( &
( & (

| < | < | < | < | < | < | < | < |

Full swing

d
B B B B
B B DB B B B B B B B B B B
Dm7 G7 Cmaj7

4
P

) &
' & &
( & ' ( & % % ( &
( & (

| < | < | < | < | < | < | < | < |

B B B B
Slight swing

B B DB B B B B B B B B B B
Dm7 G7 Cmaj7
7
P

) &
' & &
( & ' ( & % % ( &
( & (

| < | < | < | < | < | < | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 3: Swing & Tempo: fast
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 220 d
B
E 4
: E EE 4 BBBB BBB B B B B B B B EB B EB B B
F B EB B
Fm7 Bbm7 Eb7 Abmaj7

B A
1

' * ' ( )
c & & ' ) * ) '
& ' ) ' & ) (

|<|<|< < |<|<|<|< |<|<|< < |

) ) ( '
* )

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 3: Swing & Tempo: medium
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 170 d
B
E 4
: E EE 4 BBBB BBB B B B B B B B EB B EB B B
F B EB B
Fm7 Bbm7 Eb7 Abmaj7

B A
1

' * ' ( )
c & & ' ) * ) '
& ' ) ' & ) (

|<|<|< < |<|<|<|< |<|<|< < |

) ) ( '
* )

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 3: Swing & Tempo: slow
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 100 d
B
E 4
: E EE 4 BBBB BBB B B B B B B B EB B EB B B
F B EB B
Fm7 Bbm7 Eb7 Abmaj7

B A
1

' * ' ( )
c & & ' ) * ) '
& ' ) ' & ) (

|<|<|<|< |<|<|<|< |<|<|<|< |

) ) ( '
* )

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 4: Off-beat swing articulation
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 150 d

B EB B B
Downbeat accents, all notes picked

: 44 B B EB EB P
G7 Cmaj7

B B B B B
1

$ % $
' $
c % $
' & $ #

| < | < | < | < | < | < |

& $

E >B >B
Off-beat accents, all notes picked

B B B > >
G7 Cmaj7

B EB EB B B> B
P
>B B
3

$ % $
' $
% $
' & $ #

| < | < | < | < | < | < |

& $

B EB B B
Off-beat accents via slurs

B B EB EB P
G7 Cmaj7

B B B B B
5

$ % $
' $
% $
' & $ #

| < | < | < | < | < < |

& $

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 5: Degrees of Laying Back: fast
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 220 d

B B FB B EB B FB B
Fast, on the beat

EE 4 P Q B Q B Q B
Bb7 Eb7

: 4
1

L L L
c ( ) * "! ' ) * "!
) ) )

< | | < | < | | < | <

B B FB B B B B B P
B EB B
Bb7
4

) '
( ) * "!
) ( '

| | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 5: Degrees of Laying Back: medium
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 170 d

B B FB B EB B FB B
Medium tempo, slightly laid back

EE 4 P Q B Q B Q B
Bb7 Eb7

: 4
1

L L L
c ( ) * "! ' ) * "!
) ) )

< | | < | < | | < | <

B B FB B B B B B P
B EB B
Bb7
4

) '
( ) * "!
) ( '

| | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 5: Degrees of Laying Back: slow
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 100 d

B B FB B EB B FB B
Slow, very laid back

EE 4 P Q B Q B Q B
Bb7 Eb7

: 4
1

L L L
c ( ) * "! ' ) * "!
) ) )

< | | < | < | | < | <

B B FB B B B B B P
B EB B
Bb7
4

) '
( ) * "!
) ( '

| | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 6: Swing Lick 1
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 150 d
B FB B
Q L B B B B FB B B B B EB B
Am7 D7
1

: E 44 P Q L Q L

"$ "# "! ""

c "# * * "! ""
"! * "#

< < < | < < | < | < <

"#

Q BL B B B B B B B B EB FB B B B
Gm7 C7 (Fmaj7)
4

"!
"# "! ) * "!
"# "! "# "!

< | < | < < | < | < | <

"$ "# "!

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 7: Swing Lick 2
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 150 d
B B FB B B B EB B B B B
B EB B B B B B EB
Am7 D7

: E 44 B
1

3
3

"" "! "" "!

"$ "$ "# "$ "!
c "% "# "" "" "! "" "!
"% "% "$

| < | < | < | < | < | < | < | <

"#

B B B B B EB F B B EB B B
B B B B EB
Gm7 C7 Fmaj7

3 E F
A
"" "! "! "" "$ "% "# "$ "" "!
"" "# "!
"# "# "" "!

| < | < | < | < | < | < < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 8: Swing Lick 3
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 190 d

E B B B B B FB B B EB EB EB
FB B EB B B B F B B
G7

: E E 44
1

% ' % $
' & ' & %
c ' % ' % $
' & $ #

| < | < | < | < | < | < | < | <

&

B B B
Cm7

B B FB EB FB A
B B
3

$ % $
% $ % &
&

| < | | | | < | < |

$ & '

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 9: 16th-note Shuffle Lick 1
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 96 e
EB F B B B EB B B EB B EB
B EB B FB B B
C7

: 44 EB B B B EB F B B B B P
1

"" "# )
) "" "! )
c "" "! ) ) * &
"! ) "! ) ( &
"! "! ) ' (

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 10: 16th-note Shuffle Lick 2
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 110 e
B FB EB B B EB B B F B B B B EB
E 4 B FB B B F B EB B B EB B B B B B P
G7 Cm7

: EE4 B
1

"" "# ""

c "$ "# "" "! * "! *
"# "# "" "! * ) * ) )
"" "" "! * ) ' &
"! )

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 11: 16th-note Shuffle Lick 3
(Part 2, Chapter 1: Swing & Shuffle)
JTCguitar.com
Martin Miller: Guide to Picking
h = 110 e
B B B B B B B EB B B B FB B
B B F B B B. B. B
Cm7

: EE E 4
4 P
1

full
? )
1/4

""
? )
?
1/4
? ?
1/4 1/4

"" ) "" ) )
c "" "! ) "! ) ) )
"! ( "! "!

| | < | | < | < < | < | | < | < | | |

"!

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
Example 1: Double Escape Picking (single string)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 150
1

: 44 BBBBBBBBBBBBBBBB B B B B B B B B B B B B B B B B B. Q P
L
c & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & &

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|< |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
Example 2: Double Escape Picking (string crossing)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

BBBBBBBBBBBBBBBB BBBBBBBBBBBBBBBB
h = 120

: 44
1

& & & & & & & &

' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
c & & & & & & & &

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|<

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Ex3: Upstroke Escape Picking (single string)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 190
1

: 44 BBBBBBBBBBBBBBBB BBBBBBBBBBBBBBBB

c & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & &

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|<
3
B B B B B B B B B B B B B B B

& & & & & & & & & & & & & & &

| < | < | < | < | < | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Ex4: Upstroke Escape Picking (string crossing)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

DB B B DB
h = 200

B B B B B
1
4
:4 B DB B DB B DB B DB D
P
"! "" "# "$ "%
"! "" "# "$
c "! "" "# "$
"! "" "# "$

| < | < | < | < | < | < | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Ex5: Downstroke Escape Picking (single string)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 200
1

: 44 BBBBBBBBBBBBBBBB BBBBBBBBBBBBBBBB B Q P
L
c & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & &

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|< |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
Ex6: Downstroke Escape Picking (string crossing)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

F B DB B
h = 130

B B B B B B B
D4 B B B B B B B B B
: 4
1

6 6
6 6
6 6
"# "$ "% "&
"# "$ "& "# "$ "&
c "" "# "% "" "# "%
"! "# "%

| < | < | < | < | < | < | < | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 7: Sweeping Up
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 130

B B B A B B B A
: 44 B B
1

) )
c ( (
* *

| | | | | | | |
"! "!

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 8: Sweeping Down
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

B
h = 130
B B B B B
: 44 B A B A
1

) )
c ( (
* *

< < < < < < < <

"! "!

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 9: Sweeping Down and Up
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 120
B B BB BBBB BBBB BBBB B B BB BBBB
DB BB BB BB B DB BB BA
4
:4
1

3 3 3 3 3 3 3 3 3 3 3 3
"# "& "# "& "# "& "# "& "# "& "# "&
"$ "$ "$ "$ "$ "$ "$ "$ "$ "$ "$ "$
c "& "# "& "# "& "# "& "# "& "# "& "# "&

|||< < <|||< < <|||< <<|||< < < |||< < <|||< < <|

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 10: String Changing Scenario 1
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

B B B B B DB B B B B B F B DB B B B B B B DB B B B B B F B DB B
h = 120

: 44
1

6 6 6 6 6 6 6 6

c * "! "" "# * "! "" "# * "! "" "# * "! "" "#
* "! "# * "! "# * "! "# * "! "#

|<||<|< |<||<|< |<||<|< |<||<|<

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 11: String Changing Scenario 2
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

B B B B B B B B B B B B B B B B B B B B
h = 120

: 44
1

3 3 3 3

c * "# * "# * "# * "#

* "! * "! * "! * "!

| < | < | < | < | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 12: String Changing Scenario 3
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

B B B B DB F B B
h = 120
B B B B DB F B B B B B B DB F B B B B B B DB F B B
: 44
1

6 6 6 6 6 6 6 6

c "# "! * "# "! * "# "! * "# "! *

"# "" "! * "# "" "! * "# "" "! * "# "" "! *

|<|<|<| |<|<|<| |<|<|<| |<|<|<|

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 13: String Changing Scenario 4
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking

B B B B B
h = 120
B B B B B B B B B B B B B B B
: 44
1

3 3 3 3

c "# * "# * "# * "# *

"! * "! * "! * "! *

| < < | | < < | | < < | | < < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Ex14: Economy Picking, Sweep Dominated
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 120
u
B B BB BB BB B B BB BB BB
: 44 B A B A
BB B BB B
1

3 3 3 3
3 3 3 3

"# "& "$ "# "# "& "$ "#

"$ "& "$ "# "$ "& "$ "#
c "# "% "# "# "% "#
"% "%

|||||<|< <|< <| |||||<|< <|< <|

"& "&

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
Ex15: Economy Picking, Alt-Picking Dominated
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 160

B B B B B B B B B B B B B DB F B B
u

: 44 =
1

"# "& "# "# "& "#

"# "$ "$ "# "$ "$
c "% "$ "#
"& "%

| < | < | < | < | < | < < | < < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Ex16: Economy Picking: Diatonic Scale
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 120
u
A BBBBBB
C minor (Aeolian) scale

EE E 4 B B B B B B BBBBBB
BBBBBB
6 6 6 6

: 4 A
1

6 6 6 6

"$ "& "' "' "& "$

"$ "& "' "' "& "$
c "# "$ "& "& "$ "#
"# "$ "& "& "$ "#

||<||<||<||<| |<|<|< <|<<|< <

"& "&

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 17: Outside and Inside Picking
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 120

B B B B B B B B B B B B B B B B B B B
Outside Picking
1
4
:4 P
3 3 3 3 3 3

) ) )
) "! "# "# "! ) "! "# "# "! ) "! "# "# "! )
c

| < | < | < | < | < | < | < | < | < |

3 B B B B B B B B B B B B B B B B B B B B B B B B A P
3 3 3 3 3 3 3 3
) ) ) )
) "! "# "# "! ) "! "# "# "! ) "! "# "# "! ) "! "# "# "! )

| < | < | < | < | < | < | < | < | < | < | < | < |
B B B B B B B B B B B B B B B B B B B
Inside Picking
5
P
3 3 3 3 3 3

) ) )
) "! "# "# "! ) "! "# "# "! ) "! "# "# "! )

< | < | < | < | < | < | < | < | < | <
7 B B B B B B B B B B B B B B B B B B B B B B B B =
3 3 3 3 3 3 3 3
) ) ) )
) "! "# "# "! ) "! "# "# "! ) "! "# "# "! ) "! "# "# "! )

< | < | < | < | < | < | < | < | < | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 18: Dynamics
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 60

H
B GB B B B B B
Rubato: experiment with dynamics and phrasing!

4
:4 B Q B B B B B B B B B B B B
1

?
3 3

@
1/2

&
c % & ( * ( & (
( ( ( ( ( ( ( ( ( (
( )

B B B B B B DB B DB F B B B B
3 3 3

B DB B B
3 3

' &
( & % &
( % & ' (
) & ' ( )

B DB B B B B B B DB B B B B B B B DB B B B B F B F B
B B B B B B DB B
4

3
% ( & %
' ' ' & $ $
( % ( % ( & $ % & % #
' & #
& $ # #
& $ %

B B
B B B B
B B B B
B
5

A B B B B B B B B
( ) "# "(
"!
*
( * "!
(
& & & & & & & & ( )

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 19: Palm Muting
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 90

D4
Rubato: experiment with muting and timing!

AA BB BB BB BB BB BB BB BB BB BB BB BB BB BB
3 3 3 3

: 4
1

A B B B B B B B B B B B B B B B
P.M.

c
& & & & & & & & & & & & & & &
& & & & & & & & & & & & & & &
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

B GB B B GB B B B B A
B G B B B
B B B B
3

B
P.M.
"! "#
) "! "# "" "! "!
( * "# "#
& ( * "%
& (
& (

B
B DB B F B B B F B DB B B B B B B B
Faster...

B B B B B B B DB B B F B B DB F B DB
3
3
5

3 3 3 3
P.M. P.M. P.M. P.M. P.M. P.M. P.M.

"# "! * ( & $

& $
"# "$ "% "# "# "# "" "" "" * * * ( ( ( & & & & % $
'

P
B C
7

B DB B B FB DB A
P.M.

$
$ ' ' " # $ +

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 20: Tone
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 90
1
4
:4
B B B B B B B B B B B B B B
Rubato: experiment with tone and timing!
B B B B B B B B B B B B B
& & & & & & & & & & & & & & & & & & & & & & & & &
c

3
B B B B B B B B. DB B B B B E B GB B B B B B DB B
& ' &
( ( ( ( '
( ( ( ) ) & & & & (
'

B B EB
3

B B GB DB E B B B B B B B B DB B B
5 3

B B
3

?
1/2

& ( )
( ' % % & (
' & $ & & $ &

B B EB B B B B G=
7
B DB B
3

& ' & ' &

& ) ) ) "!
& '

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 21: Harmonics
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 80

E
: E 44 B B B B B B B B B B B A
Rubato: experiment with timing & pinch harmonics!
1

c
& & & & & & & & & & & &

B . B.
B B B FB EB B B B
B B B B B L Q EB B B B
B B B
B B B
3

P.M.
' ) "! "$ ,"$- "# "" "!
' ) "$ ""
& ( "" "!
& ( ) "$ "# "!
& "$ "#

B A B B B B B B B B
5

B B B B B B B B
P.M.

"" "$ "! "" "!

"# "# "# "! "# "!
"# "! "# ) "!
"! "!

B B B B B. B E B B B B B B B B C
3

. . B. B B
7

B B
) & & $
) "! ) & $
"! "! * ) ' $ ' " $ +

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 22: Jazz & Metal Touch
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 76
Metal touch

B B DB B B B B B B B B B B B B B B B B B B B B B
u
(Rubato)

D
: 44
1

B
"* ## #" "* "( #" "* "( "& "* "( "& "% "( "& "% "# "& "% "# "% "#
"& "&
c
!

DB F B B EB B B B B FB B B B GB B B
B B
2

P.M.

"% "$ "# "#

"& "% "# "#
"% "# "% "#
"% "% "# "! "!
"# "!

BB B BB BB
B BB BB DBB DB
3

B B B B B B B B B B B B B B B B B B B
P.M.
1/2
? P.M. P.M. P.M. P.M.

"# ! $ &
#
$ #
@
,#- !
#
#
! ! !
%
%
! ! !
&
&
! ! ! !
*
'
!
*
(

B B B B B B FB B B B B
BB B B B B B B B B B B
B B B B B
D
5

"! "! "% "$ "# "!

"! "! "# "# "!
( "" * "" "" "#
* ( * "" "#
& ( * "!

B B B B B P
B B B B B DB B B A C
7

"# "" *
"# *
"# "! * *
"# "! "" "# +

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/2
 B B B B B B B B B B B B DB B
Jazz touch

E B B B B B B B L
9

5
B
let ring let ring
'
) "! ) ' &
( * "! ( ( & '
( ) "! )
( ) "! (
!

A B B B BE B B B B BE B B
B BE B B B B E B B B
B B B B B B B B B B DB B B B B
3
11

A
let ring
& ' &
) ( ' &
( & ' & $ # $ #
) ( ' & $ # & & $ " # " # &
! ( % $ %
' &

B B B B B E B BE B F B F B B . .
H Q BBB B B B B. B EB FB
B B BBB . B. B. B. B. B B A
13

let ring
) "! "# ,"#- "" "! * "# "!
) "!
( * "! "! *
$ ( "# "" "#
& & ( ) "# "! )
"$ "# "! "!

Page 2/2
 Ex23: Jazz & Metal Touch (reversed)
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 76
Metal touch with jazz tone

B B DB B B B B B B B B B B B B B B B B B B B B B
u
(Rubato)

D
: 44
1

B
"* ## #" "* "( #" "* "( "& "* "( "& "% "( "& "% "# "& "% "# "% "#
"& "&
c
!

DB F B B EB B B B B FB B B B GB B B
B B
2

P.M.

"% "$ "# "#

"& "% "# "#
"% "# "% "#
"% "% "# "! "!
"# "!

BB B BB BB
B BB BB DBB DB
3

B B B B B B B B B B B B B B B B B B B
P.M.
1/2
? P.M. P.M. P.M. P.M.

"# ! $ &
#
$ #
@
,#- !
#
#
! ! !
%
%
! ! !
&
&
! ! ! !
*
'
!
*
(

B B B B B B FB B B B B
BB B B B B B B B B B B
B B B B B
D
5

"! "! "% "$ "# "!

"! "! "# "# "!
( "" * "" "" "#
* ( * "" "#
& ( * "!

B B B B B P
B B B B B DB B B A C
7

"# "" *
"# *
"# "! * *
"# "! "" "# +

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/2
 B B B B B B B B B B B B DB B
Jazz touch with metal tone

E B B B B B B B L
9

5
B
let ring let ring
'
) "! ) ' &
( * "! ( ( & '
( ) "! )
( ) "! (
!

A B B B BE B B B B BE B B
B BE B B B B E B B B
B B B B B B B B B B DB B B B B
3
11

A
let ring
& ' &
) ( ' &
( & ' & $ # $ #
) ( ' & $ # & & $ " # " # &
! ( % $ %
' &

B B B B B E B BE B F B F B B . .
H Q BBB B B B B. B EB FB
B B BBB . B. B. B. B. B B A
13

let ring
) "! "# ,"#- "" "! * "# "!
) "!
( * "! "! *
$ ( "# "" "#
& & ( ) "# "! )
"$ "# "! "!

Page 2/2
 Example 24: Alternate Picking Arpeggios
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 90

: 44 B B B B B B B B B B B B B B B
B B B B B B B B B A
1

let ring
! ! !
! ! ! ! ! !
c # # # # # #
# # # # # #

| < | < | < | < | < | < | < | < | < | < | < | < |
! ! ! !

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
Example 25: Arpeggios with consecutive strokes
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 90

: 44 B B B B B B B B B B B B B B B
B B B B B B B B B A
1

let ring
! ! !
! ! ! ! ! !
c # # # # # #
# # # # # #

| | | | < < < < | | | | < < < < | | | | < < < < |
! ! ! !

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 26: Arpeggios with sweeps
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 90

: 44 B B B B BBB B B B B BBB
BB BB B BB BB B
1

let ring
! ! ! !
! ! ! !
c # # # #
# # # #

||||| <<<<< ||||| <<<<<

! ! ! !

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 27: Strumming with RDAP
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 150
H H H H
4 BB BB Q BB BB BB C C BB BB Q BB BB BB C C BB BB Q BB BB BB C C BB Q P
:4 BB BB BB BB BB C C BB BB BB BB BB C C BB BB BB BB BB C C BB
1

B B BBB B B B BB B B BBB B
& & & & & & & & & & & & &
& & & & & & & & & & & & &
c & & & & + + & & & & + + & & & & + + &
( ( ( ( + + ( ( ( ( + + ( ( ( ( + + (

|< < <|< |< < <|< |< < <|< |

( ( ( ( ( ( ( ( ( ( ( ( (
& & & & & & & & & & & & &

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 28: Dynamic Funk Strumming
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 92

BB EE BB BB BB B
.
B B
.
B BB BB C C BB EE BB BB BB B
.
B B
.
B BB BB C C
B CC CC B CC CC B B CC CC B CC CC B
(D9 sliding to Eb9)

4
:4 DB E B B B B C C DB E B B B B C C
1

& ' ' ' & & & & & ' ' ' & & & &
& ' ' ' & & & & & ' ' ' & & & &
c & ' ' ' + + & + + & & & + + & ' ' ' + + & + + & & & + +
% & & & + + % + + % % % + + % & & & + + % + + % % % + +

| | <| < | | < | |< | <

& ' ' ' & & & & & ' ' ' & & & &

BB EE BB BB BB B
.
B B
.
B BB BB C C BB EE BB BB BB B
.
B B
.
B BB BB C C
DB E B B B CC CC B CC CC B B B C C DB E B B B CC CC B CC CC B B B C C
3

& ' ' ' & & & & & ' ' ' & & & &
& ' ' ' & & & & & ' ' ' & & & &
& ' ' ' + + & + + & & & + + & ' ' ' + + & + + & & & + +
% & & & + + % + + % % % + + % & & & + + % + + % % % + +
& ' ' ' & & & & & ' ' ' & & & &

BB. Q P
DB
5

L
&
&
&
%
&

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 29: Strumming Speed
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 125
With slow, raking strum
H H H H H H H
4 BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB Q P
:4 BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB
1

B B B B B B B B B B B B B B B B
& & & & & & & & & & & & & & & &
& & & & & & & & & & & & & & & &
c & & & & & & & & & & & & & & & &
( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (

| | | < <
( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
& & & & & & & & & & & & & & & &

With fast, tight strum

H H H H H H H
BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB Q P
BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB BB
5

& & & & & & & & & & & & & & & &
& & & & & & & & & & & & & & & &
& & & & & & & & & & & & & & & &
( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (

| | | < <
( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
& & & & & & & & & & & & & & & &

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 30: Strumming High and Low
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 180

BB BB Q BB AA
Am F G

BB BB Q BB BB P
: 44 BB BB BB B B BB BB AA BB BB BB B B BB BB BB
1

B. B B L B. B A B. B B L B. B B
& & & & " " " $
& & & & " " " $
c & & & & # # # %
( ( ( ( ( ( ( ( $ $ $ $ $ & & &

| | | < < | | | | | | < < | | |

( ( ( ( ( ( $ $ $ & & &
& & & & & & " " " $ $ $

BB BB Q BB AA
Am F G

BB BB Q BB BB P
BB BB BB B B BB BB AA BB BB BB B B BB BB BB
5

B. B B L B. B A B. B B L B. B B
& & & & " " " $
& & & & " " " $
& & & & # # # %
( ( ( ( ( ( ( ( $ $ $ $ $ & & &

| | | < < | | | | | | < < | | |

( ( ( ( ( ( $ $ $ & & &
& & & & & & " " " $ $ $

==
==
9

=
&
&
&
(

|
(
&

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 31: Strumming Rhythmic Accents
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 120 d

DDDD 4 BB BB C C BB Q B B C C B Q
C#m7 F#9

B B B B
3

B. B
3

: 4 B. B B L D
1

L
* * * * * *
c * * * * * *
* * + + * ) ) + + )

| | | < | < | | | | | < | < | |

* * *
* * *

BB BB BB BB BB C C B BB
B9sus4 E

C C Q Q
3 3

B. B
3

B. B B L L
& & & & & &
' ' ' % % %
( ( + + ( ' ' + + '

| | | < | < | | | | | < | < | |

( ( (
( ( (

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 32: Trapped Double Stops
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 115
DDD 4 B. Q B. Q EF B FDB Q B. R B Q EF B FDB Q CC
: 4 B
1

L L L M L
c ' ( ) * ' ( ) * +
( * "! "" ( * "! "" +

| | | < | | | < < |

"(

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 33: Strummed Double Stops
(Part 2, Chapter 2: Picking Mechanics)
JTCguitar.com
Martin Miller: Guide to Picking
h = 115
DDD 4 B. Q B. Q EF B FDB Q B. R B Q EF B FDB Q CC
: 4 B
1

L L L M L
c ' ( ) * ' ( ) * +
( * "! "" ( * "! "" +

| | | < | | | < < |

"(

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 1: Speed Exercise 1
(Part 2, Chapter 3: How to Get Faster)
JTCguitar.com
Martin Miller: Guide to Picking

>B DB B DB >B DB B DB >B >B DB B DB >B DB B DB >B

h = 200
1

: 44 P P

"! "!
c "! "" "# "$ "! "" "# "$
"! "" "# "$ "! "" "# "$

| < | < | < | < | | < | < | < | < |

3 >B DB B DB >B DB B DB >B P
>B DB B DB >B DB B DB >B P

"! "!
"! "" "# "$ "! "" "# "$
"! "" "# "$ "! "" "# "$

| < | < | < | < | | < | < | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 2: Speed Exercise 2
(Part 2, Chapter 3: How to Get Faster)
JTCguitar.com
Martin Miller: Guide to Picking
h = 200
u
>B B B B >B B B B >B B B B >B B B B >B B B B >B B B B >B B B B >B B B B =
: 44
1

"# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "#
c

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|< |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 5: Speed Exercise 3 (fast)
(Part 2, Chapter 3: How to Get Faster)
JTCguitar.com
Martin Miller: Guide to Picking

EB B B B B Q EB B B B B Q EB B B B B Q
Fast Tempo

: 44 L L L
1

"" "! "" "" "! "" "" "! ""

c "# "! "# "! "# "!

| < |< | |< | <| |< | <|

EB B B B B Q EB B B B B Q EB B B B B Q
L L L
4

"" "! "" "" "! "" "" "! ""

"# "! "# "! "# "!

| < | < | | < | < | | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 4: Speed Exercise 3 (medium)
(Part 2, Chapter 3: How to Get Faster)
JTCguitar.com
Martin Miller: Guide to Picking

EB BBBBBBBBBBBBBBB EB BBBBBBBBBBBBBBB
Medium Tempo

: 44
1

"" "! "" "! "" "! "" "! "" "! "" "! "" "! "" "!
c "# "! "# "! "# "! "# "! "# "! "# "! "# "! "# "!

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|<
EB B B B B B B B B B B B B B B B EB B B B B B B B B B B B B B B B EB Q P
L
3

"" "! "" "! "" "! "" "! "" "! "" "! "" "! "" "! ""
"# "! "# "! "# "! "# "! "# "! "# "! "# "! "# "!

|<|<|<|<|<|<|<|< |<|<|<|<|<|<|<|< |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Example 3: Speed Exercise 3 (slow)
(Part 2, Chapter 3: How to Get Faster)
JTCguitar.com
Martin Miller: Guide to Picking

EB B B B EB B B B EB B B B EB B B B EA
Slow, free tempo

: 44
1

"" "! "" "! "" "! "" "! ""

c "# "! "# "! "# "! "# "!

| < | < | < | < | < | < | < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/1
 Etude 1: Arpeggiating & Strumming
(Part 2, Chapter 4)
JTCguitar.com
Martin Miller: Guide to Picking
h = 145
Double escape picking, alternating...

B B B B B B B FB B B B B B BB B
D5 Dm7 G7/D Gm7/D

: E 44 BB BB BB B B B B B B B B B B
$ $ ' ' ' ' ' '
c # # # & & & % % % $ $ $
! ! ! ! ! ! ! ! ! ! ! !

|<|<|<|< |<|<|<|< |<|<|<|< |<|<|<|<

alternating double escape picking continues...

B B B B B B B B B B B
D5 Dm7 G7/D

B B FB B
B B B B B B B B B
5

$ $ ' ' ' '

# # # & & & % % %
! ! ! ! ! ! ! ! !

B BB B BB BB B B B B BB B
D5 Dm7 G7/D Gm7/D

B B FB B B
B B B B B B B B B B B B
9

$ $ ' ' ' ' ' '

# # # & & & % % % $ $ $
! ! ! ! ! ! ! ! ! ! ! !

B BB B BB BB B B B B BB B
D5 Dm7 G7/D Gm7/D

B B FB B B
B B B B B B B B B B B B
13

$ $ ' ' ' ' ' '

# # # & & & % % % $ $ $
! ! ! ! ! ! ! ! ! ! ! !

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/3
 (consecutive strokes)

B H B B H B
F BB
B AA
D5 Csus2 G/B Gm/Bb A9sus4

B B B B B B A
17

FB EB B L
$ $ $ $
? $
$
# ! ! ! %
! &

| | < | | < | | < | | < | |

$ # " !

Dm7
20
P BB BB Q BB P BB Q F BB AA
C/D G/D
P
Dm7
BB BB Q BB P BB Q F BB AA
C G/D

L L L L
' ' ' & $ ' ' ' & $
& & & & % & & & & %
( ( ( & & ( ( ( & &

| < < | < | < < | <

P BBB BBB Q BBB P BB Q B A P BBB BBB Q BBB P BB Q B A
strumming pattern continues...

B A B A
Bbsus2 C/Bb Bb Gm11 C/G Gm7
24

L L L L
' ' ' & $ ' ' ' & $
& & & & $ & & & & $
) ) ) & $ ) ) ) & $

P BB BB Q BB P BB Q F BB AA P BB BB Q BB P BB Q F BB AA
Dm7 C/D G/D Dm7 C G/D
28

L L L L
' ' ' & $ ' ' ' & $
& & & & % & & & & %
( ( ( & & ( ( ( & &

P BBB BBB Q BBB P BB Q B A

B A P BBB BBB Q BBB P BB BB BB Q
Bbsus2 C/Bb Bb Gm11 Gm7
32

L L L L
' ' ' & $ ' ' ' ' ' '
& & & & $ & & & ( ( (
) ) ) & $ ) ) ) ) ) )

| < |

Page 2/3
 BBBBBBB
(Note consecutive pick strokes)

BBBBBBB BBBBBBB BBBBBB

B
Bbmaj7 Am7 Gm7 Am7
36 3x

B B B B
P.M.

' & $ $ &

( ( ( & & & $ $ $ $ &
( ( ( & & & $ $ $ $ &

||<|<<|< ||<|< <|< ||<|< <|< |||<|||<

' & $ $ &

H
B B B B B B B BB Q AA
Bbmaj7 Am7 Gm7 C9sus4

B B B B B B B
HQ
B B B B B B B A
40

B B B
P.M.

' & $ ' '

( ( ( & & & $ $ ( (
( ( ( & & & $ $ $ ) )

|| < | < < | < | | < | < < | < || < | < < | | |
' & $ ) )

Page 3/3
 Etude 2: Hand Position
(Part 2, Chapter 4)
JTCguitar.com
Martin Miller: Guide to Picking
h = 96

DDD 4 P DDB B Q F B. DB B.
B B B FB B B B B B B
A7

: 4 Q P
L
P.M. P.M.

% & ( % &
c & ' ( & ' & %
% ( ( % ( (

| < | | | | < | < | < | < |

(

B B B B F B. BB R B Q
DDB B Q F B B.
.
P DB Q B P R
M
3

L
* * * * ( & &
% & ( % & "! "! "! "! ) & (
& ' ( & '

| < | < < < <

B Q FB B.
.
DDB DB
B B B FB B
5
P Q P B B B B B
L
P.M. P.M.

% & ( % &
& ' ( & ' & %
% ( ( % ( (
(

B. DB BB Q EB BB
DDB B Q FB DB Q B.
B DB BB
A7#9#5 A7b9#5
7
P P FB B B P
L
) ) ' '
% & ( % & ' ' ' '
& ' ( & ' ' ' ' '
& & & &

| < | <

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/3
 BF B. BB. BB. BB. BB. BB. EF BB. BB BB BB. B B B F B R B B.
D9 Eb9 D9

P
EF B
E
B B B B B B B B B
9

& & & & & & ' & & )

?
1/4

& & & & & & ' & & ( "! ( "!
& & & & & & ' & & *
% % % % % % & % %

| | | | | | | < | | < | < < |

& & & & & & ' & &

EB B FB B FB B
B.
FB B B. B.
B B.
B B.
B B.
B DBB
. BB BB BB. B
D9 C#9 D9

Q Q
B B B B B B DB B B B L
11

& & & & & & % & & "" "! ) "! "# )
1/4
?
& & & & & & % & & "!
& & & & & & % & &
% % % % % % $ % %

| < | < |
& & & & & & % & &

BF B. BB. BB. BB. BB. BB. EF BB. BB BB BB. B B B F B R B B.

D9 Eb9 D9

P
EF B
E
B B B B B B B B B
13

& & & & & & ' & & )

?
1/4

& & & & & & ' & & ( "! ( "!
& & & & & & ' & & *
% % % % % % & % %
& & & & & & ' & &

BF B. BB. BB. BB. BB. BB. EF BB. DFF BB BB BB. B BB

R BB
D9 Eb9 E9

Q B
EF B DF B B B B
E
B B B B B B B
15

L L
& & & & & & ' ( ( ( (
& & & & & & ' ( ( ( (
& & & & & & ' ( ( ( (
% % % % % % & ' ' ' '

| | | | | | | < | < | |
& & & & & & ' ( ( ( (
"(

B. B. EF B B. DF B P B. B. F B. B. EF B B. DF B FB
. B. F B. B. DDB B. B
A D G

17
B. B. P P

( ( ) ) * * "! "# "# "$ "$ "% "% "&

' ' ( ( ) ) * ( ( * * "! "! "" "# "# "% "% "& "& "'
( ( * * "! "! ""

| | | | |< |
Page 2/3
 B F B DB B
B DB F B B F B DB B F B B
A

B GB F B B B F B B B B B BH BB
20

B
"! ) *
"!
* ) ( & ' #
( ( & ( # #

| < < | < < | < | < | < | | < < |

( ( & $ & $ # ! !
! #
M A
M

B. EF B B. DF B P B. B. F B. B. EF B B. DF B P FB
. B. F B. B. DDB B. B
B. B. B.
A D G

22
P

( ( ) ) * * "! "# "# "$ "$ "% "% "&

' ' ( ( ) ) * ( ( * * "! "! "" "# "# "% "% "& "& "'
( ( * * "! "! ""

B F B DB B
B DB F B B F B DB B F B B
A A#5 A5

B GB F B B B F B B B DDF BB AA BB BB Q P
25

BB B B
"! ) *
"!
* ) ( & ' $ # #
( ( & ( # $ # #

|< <|< <|<|<|<| |< < | |<

( ( & $ & $ # ! " ! !
! #
M
A
M

Page 3/3
 Etude 3: Single String & Synchronisation
(Part 2, Chapter 4)
JTCguitar.com
Martin Miller: Guide to Picking
h = 155

4 A B
A5 D/F# F5 B/D# E

:4 B DA B B A B B DA A
1

c
( & %

| < | < | < | |

( ) ( ' (

=
Am C Em G Am

B B B B B B B B B B B DB

& ' ) * "!

% & (
(

| < | < | < | < |

B B B B B. B B B B B. B B B B B B B B B B.
A5

L Q Q P
9

) ( & ( ) "! ) ( ) "! "# "! ) "! "# "$ "# "! "# "$

| < | < | | < | < | | < | < | | < | < |

B B B B B. B B B B B. B B B B B B B B B B.
L Q Q P
11

) ( & ( ) "! ) ( ) "! "# "! ) "! "# "$ "# "! "# "$

| < | < | | < | < | | < | < | | < | < |

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/4
 B B B B B. B B B B B. B B B B B B B B
13
L Q Q P B B B B
) ( & ( ) "! ) ( ) "! "# "! ) "! "# ! "! ! ) ! ( !

| < | < | | < | < | | < | < | < | < | < | <
B B B B B. B B B B B. B B B B A
15
L Q Q P
) ( & ( ) "! ) ( ) "! "# "! ) "! "#

| < | < | | < | < | | < | < |

17
B B B B B B B B B B B B B B B B
F
B B B B B B B B B B
) & ( ) ( & ) & ( ) ( & ) & ( ) ( & ) & ( ) ( & ) &

| < | < | < | < | < | < | < | < | < | < | < | < | <
19
B B B B B B B B B B B B B B B B
G
B B B B B B B B B B
"! ( ) "! ) ( "! ( ) "! ) ( "! ( ) "! ) ( "! ( ) "! ) ( "! (

| < | < | < | < | < | < | < | < | < | < | < | < | <
Am
B B B B B B B B B B B B B B B B B B B B B B B B B B
21

"# ) "! "# "! ) "# ) "! "# "! ) "# ) "! "# "! ) "# ) "! "# "! ) "# )

| < | < | < | < | < | < | < | < | < | < | < | < | <

Page 2/4
 GA A A A
G Em

23

) "! ) (
)

| < | |
25
B B B B B B B B B B B B B B B B
F
B B B B B B B B B B
) & ( ) ( & ) & ( ) ( & ) & ( ) ( & ) & ( ) ( & ) &

| < | < | < | < | < | < | < | < | < | < | < | < | <
27
B B B B B B B B B B B B B B B B
G
B B B B B B B B B B
"! ( ) "! ) ( "! ( ) "! ) ( "! ( ) "! ) ( "! ( ) "! ) ( "! (

| < | < | < | < | < | < | < | < | < | < | < | < | <
Am/E
B B B B B B B B B B B B B B B B B B B B B B B B A
29

"# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "# "$ "# "! "#

| < | < | < | < | < | < | < | < | < | < | < | < |
DB
u
B B DB B B B B B B B B B B B B DB B B DB B B B B B B
E/G#

31

"' "( "' "% "' "( "' "% "' "( "' "% "' "( "' "% "' "( "' "% "' "( "' "% "' ,"'-

| < | < | < | < | < | < | < | < | < | < | < | < |

Page 3/4
 continue alternate picking to end...

u
A5

33 BBBBBBBBBBBBBBBB B B B B B B B B B B B B DB =

& " $ & ( $ & ( ) & ( ) "! ( ) "! "# ) "! "# "$ "! "# "$ "& "# "$ "& "' "(

|<|<

Page 4/4
 Etude 4: Speed Builder
(Part 2, Chapter 4)
JTCguitar.com
Martin Miller: Guide to Picking
h = 176

D
(synth intro)

: D 44
(Bm)
1

B B B B B B B B B B B B B B
picking pattern repeats...
3

( ( ( (
"" * ( * "" "" * ( * ""

| < | < | < |

5
B B B B B B B B B B B B B B

( ( ( (
"" * ( * "" "" * ( * ""

B B B B B B B B B B B B B Q B B B B B B B B B B B B B Q
picking pattern repeats...
7

L L

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * "" "" * ( * ""

| < | < | < | < | < | < |

9
B B B B B B B B B B B B B Q B B B B B B B B B B B B B Q
L L

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * "" "" * ( * ""

Copyright JamTrackCentral Ltd 2021

All Rights Reserved - International Copyright Secured Page 1/4
11

B B B B B B B P B B B B B B B Q B B B B B B B Q
B5 A5
13

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * ""

| < | < | < | | < | < | < | | < | < | < |

B B B B B B B P B B B B B B B Q B B B B B B B Q
B5 A5
15

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * ""

B B B B B B B B B B B B B Q B B B B B B B B B B B B B Q
B5 A5
17

L L

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * "" "" * ( * ""

| < | < | < | < | < | < |

B B B B B B B B B B B B B Q B B B B B B B B B B B B B Q
B5 A5
19

L L

( ( ( ( ( (
"" * ( * "" "" * ( * "" "" * ( * "" "" * ( * ""

B B DB B B B B P B B B B DB B B Q B B B B B B B Q
E5 D5
21

L
"% "% "%
"% "' ") ") "' "% "% "' ") ") "' "% "% "' ") ") "' "%

| < | < | < | | < | < | < | | < | < | < |

Page 2/4
 B B DB B B B B P B B B B DB B B Q B B B B B B B Q
E5 D5
23

L
"% "% "%
"% "' ") ") "' "% "% "' ") ") "' "% "% "' ") ") "' "%

B B DB B B B B B B B B B B Q B B DB B B B B B B B B B B Q
E5 D5
25

L L
"% "% "% "%
"% "' ") ") "' "% "' ") ") "' "% "% "' ") ") "' "% "' ") ") "' "%

| < | < | < | < | < | < |

B B B DB B B B B B B B B B Q B B B DB B B B B B B B B B Q
E5 D5
27

L L
"$ "$ "$ "$
"# "% "' "' "% "# "% "' "' "% "# "# "% "' "' "% "# "% "' "' "% "#

B B B B FB DB B B
B
B5
29

L L
"! "#
* "! ""
* "#

| | | | | < |
B B B B B
31 B B B B B B B B B B B =
"# ( "! (
"! ( "# ( "! (
* ( "" ( * (
*

| < | < | < | < | < | < | < | < |

Bu B B B B B B B B B B B B B B B B B
B5

33
B B
"( "* "( "% "( "* "( "% "( "* "( "% "( "%
"( "& "( "& "( "&

| < | < | < | < | < | < | < | < | | | |

Page 3/4
 u
B B B B B B B B B B B B B B B B B
E5 A5

35
B B B
"# "% "# "! "# "% "# "! "# "% "# "! "# *
"# "! "# "! "# "!

Bu B B B B B B B B B B B B B B B B B
B5

37
B B
"( "* "( "% "( "* "( "% "( "* "( "% "( "%
"( "& "( "& "( "&

u
B B B B B B B B B B B B B B B B B
E5 A5

39
B B B
"# "% "# "! "# "% "# "! "# "% "# "! "# *
"# "! "# "! "# "!

GA A =
C5

41

"! "# "# "#

| < <
alternate picking to end...

BBBBBBBBBB
BBBBBB BBBBBBBBBBBBBBBB =
u
(Bm) B5

43

"* "( "& "% "& "( "& "%

"( "& "% "# "% "& "% "#
"% "# "" * "" "# "" *
"# "" * ( * "" * ( *

|<|<

Page 4/4
J T C G U I TA R . C O M