The grace and elegance of proper fingerpicking can be inspiring as well as frustrating. The subtle nuances and "behind-the-scenes" techniques at play can feel like an insurmountable task to many players. However, there are a handful of techniques, that when combined, can help a player to see the light rather than fumble in the dark. Let's join Trevor Gordon Hall as he systematically combines these core techniques into the 'Fingerpicking Practice Plan'.
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Trevor will break down four core fingerpicking techniques into easily digestible sections. Each exercise will include a primary lesson, as well as a practice session that will help commit the techniques to muscle memory before combining the skills of each section into four original etudes!
Trevor Gordon Hall introduces us to the 'Fingerpicking Practice Plan'.
Finger intuition relates to having comfortable confidence in your finger positioning and string assignments. In this first exercise, Trevor will discuss the Triangle Position, Staccato vs. Free Stroke picking, and will cover a 'C Maj 7 to D sus to E Min add 9 to D sus' picking pattern that will help us foster proper finger intuition.
Ok. Now it's time to practice our 'C Maj 7 to D sus to E Min add 9 to D sus' picking pattern.
Here, Trevor will help us to continue working on our finger intuition with this two-finger, ascending and descending, A-Minor to E-Minor picking pattern.
Alright, now let's practice our A-Minor to E-Minor picking pattern presented in the previous lesson.
Here, Trevor will provide us with an E-Major Etude that will utilize the finger intuition skills that we've learned thus far.
Let's close out Section 1 of our course by practicing the E-Major Etude provided in the previous lesson.
"PIMA" ((P = pulgar (thumb), I = indice (index finger), M = medio (middle finger), A = anular (ring finger)) is an acronym originating from classical guitar notation which assigns a name for each digit of the picking hand for use in fingerpicking assignments. In this lesson, Trevor will play a few 'Cmaj 7 - Dsus - Em9' combinations out of order using the PIMA finger positioning to help us commit the acronym and finger assignments to muscle memory.
Now it's time to practice the PIMA-centric picking pattern provided by Trevor in the previous lesson.
In this next lesson, Trevor will provide us with an 'E - C#m - A - B' exercise intended to help with adding bass notes to a stationary chord while utilizing a combination of high fretted notes and open strings.
Ok let's commit this pattern to muscle memory and put our 'E - C#m - A - B' into practice.
Let's close out Section 2 with an etude aimed at helping you gain comfort playing various PIMA patterns with a P-and-A pinch between the D and high E strings that accents the root and melody note of a chord.
Now let's practice the etude provided by Trevor in the previous lesson.
Moving on to Section 3, curating the ability to manipulate your thumb independently from the rest of your fretting digits while chording allows for a myriad of sounds and textures in your playing. In this lesson, Trevor provides an E-major independent thumb exercise that shifts to A-minor using varying PIMA patterns.
Alright! Now it's time to put our independent thumb into practice!
Let's continue with our work on an independent thumb with this next lesson which provides an exercise utilizing one, two, and three-finger chords - interspersed with an open-thumb hop between the D and G strings.
You know the drill! Let's put the previous exercise into practice, and commit our independent thumb to muscle memory!
Let's close out Section 3 with this awesome etude that incorporates moveable 3rds, pinched notes, and our independent thumb. We'll also have the opportunity to use an open G to shift to the next chord, which can be useful for making quick chord changes sound fluid and effortless!
It's time to practice the previous etude and try to commit the multiple skills to muscle memory!
We've arrived at the fourth and final section of our course! In this lesson, Trevor provides us with an exercise geared toward alternating the 'I' and 'M' strings while simultaneously playing lead lines. He'll also cover crossing strings, and even introduce us to "banjo-style" playing which makes use of open ringing strings.
Ok! Let's put everything that we've learned from the previous lesson into practice.
Continuing with our work on independent lines, here Trevor covers a technique that utilizes basic chords, but with alternate fingerings which allow us to maintain a moving bass line during the progression.
Time to commit our moving bass line technique to muscle memory!
Let's close out the course with this amazing etude that leaves us with a key exercise to work on 'I' and 'M' string crossing, outlining chords with single notes, and even playing at a standard tempo over a half-time backing track!
Congratulations on your progress! It's time to close out the course with our final practice session!
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