jimmy bruno - the art of picking

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Page 1: Jimmy Bruno - The Art Of Picking
Page 2: Jimmy Bruno - The Art Of Picking

Acknowledgements Curt Scheller. A special thanks to Curt for proof reading this book and for the cover artwork. Please visit his web site http://www.curtsheller.com. You will find a number of great guitar instructional materials. Corey Christiansen of Mel Bay publications. Corey provided invaluable input. A special thanks to everyone I have ever taught. Teaching has enabled me to formalize this whole concept.

A very special thank you to the following Doctors:

Dr Leonard Harman Dr. Joseph Califano Dr. Howard Klein

Dr Rick Goosenberg Dr. Robin Goosenberg

Dr Barry Kayes Dr. Samaha

Dr. Mitchell Smith Dr. Dave Rudnick

Dr. Fred Nakhjavan. Dr. Chernof

Page 3: Jimmy Bruno - The Art Of Picking

Table of Contents

��Introduction

��The Strokes Page 1

��Consecutive Strokes Page 5

��The Major Scales Page 9

��Arpeggios Page 15

��String skipping Page 26

��Typical Be-Bop Phrases Page 31

��Articulations Page 38

��Breaking the Rules Page 43

��Conclusion

Page 4: Jimmy Bruno - The Art Of Picking

Introduction

When I first began to play jazz guitar, I listened mostly to guitarists, A few years later I was introduced to the music of Charlie Parker, John Coltrane, Art Tatum and Oscar Peterson, as well as many other instrumentalists. I mention those four individuals because they had the most effect on my technique and musical style. After a few attempts to copy or imitate horn and piano lines, I soon realized the alternate picking technique, which I was using at the time, was not going to cut it. I had to find a better way to move the pick across the strings. I discovered when two notes were not on the same string, the pick had to travel past the string that the second note was on and then reverse direction to come back up and play the note. That is a long way for the pick to travel. I found one concept or rule that causes the pick to travel the least amount of distance. The fundamental concept is:

��When going to a higher string, use a down-stroke. ��When going to a lower string, use an up-stroke. ��When playing on one string, use alternate strokes.

This technique creates a significant change in one’s right hand technique or, I prefer the term “habit”; most guitarists have been using the alternate picking “habit” for many years. That habit is not easy to break. With a fair amount of practice and discipline you can break that habit and develop a much more efficient right hand technique.

The Right Hand The right hand, wrist and elbow should always be relaxed and never tense or tight. The wrist should not move or tilt. The movement should come from the elbow. Do not touch the strings, bridge or any other part of the guitar with the fingers of your right hand. Your palm may rest lightly on the strings.

Page 5: Jimmy Bruno - The Art Of Picking

The Strokes

This technique creates the following strokes: ��Down-up: Everyone can do this one ��Up-down: A bit more difficult, especially keeping the accent strong. The

goal is to make the up-stroke sound as strong and round as the down-stroke.

��In-between – stroke: This stroke requires the pick to move between two adjacent strings or non-adjacent strings. This stroke is difficult to master

��Consecutive down-stroke and consecutive up-stroke: When practicing this

technique it is important to play the notes evenly and with an equal amount of attack. The tendency is to rush the notes that follow the initial stroke. An example would be two, three or four notes, each on an adjacent string, played with a single down or up stroke depending on the direction of the phrase. The consecutive up-stroke is harder to control.

I have attempted to cover most situations that a guitarist might encounter, but it is an impossible task to cover them all. Music and guitar have an infinite number of possibilities.

Page 6: Jimmy Bruno - The Art Of Picking

Symbols

= Down-stroke = Up-stroke Some of the exercises require you to start the exercise with both a down stroke then an up stroke. See exercise 23 page 30.

If you follow the uppermost picking indicators, you will see that the 1st eighth note has an up stroke, the next eight note has a down stroke and the 3rd eighth note has an up stroke. It doesn’t matter which way you start, by the 3rd or 4th stroke, you will be at the same stroke whether you started with an up or a down. You can see that by the 3rd stroke (an up stroke) you are in sync with the lower indicators where you started with a down stroke. Since there are only two strokes, this should be obvious. I recommend that you practice all the exercises starting with both strokes. There should be only a very slight difference in sound. If you have been playing a long time, you will find it very difficult to change your picking technique or “habit”. But all habits can be modified. It will take a little patience and a moderate amount of practice. At first, your technique will suffer. This is only natural since you are incorporating something that is foreign to your brain and hands. When this new picking technique becomes a habit, your speed and accuracy will improve. How long this will take, will vary with how much time you practice. I recommend you practice these exercise at MM 60 to 120, then increase your speed from there. It is impossible to cover all the possible picking scenarios. Music has an infinite number of possibilities. I have attempted to describe the techniques that I use when improvising various phrases. The exercises are designed to take the student from point A to Z. It is not a good idea to skip around in this book Check my web site www.jimmybruno.com for movies of a few of the exercises. Hope you enjoy this book,

Sincerely,

Jimmy Bruno

Page 7: Jimmy Bruno - The Art Of Picking

��

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The Strokes

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�exercise 1

The down-up strokeThis is the most common stroke on the guitar. Use this exercise to control your accent on the downbeats. Apply to all strings.

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Practice keeping your wrist straight but not stiff. Remember: the movement is from the elbow.

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Page 8: Jimmy Bruno - The Art Of Picking

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��exercise 2

Use this exercise to control your accent on the downbeats but with an up-stroke. Apply to all strings.

The up-down stroke

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Page 9: Jimmy Bruno - The Art Of Picking

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exercise 3

Mixed strokes

This exercise is designed to alternate the accents with a down-stroke then an up-stroke.Apply to all strings.

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Page 10: Jimmy Bruno - The Art Of Picking

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�exercise 4

In between stroke

This is the hardest stroke to master. It involves going between two adjacent strings. This is a critical part of your right hand technique. Take your time with this one.Apply to any two adjacent strings using the double-stop of your choice. Do not let notes ring!

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Page 11: Jimmy Bruno - The Art Of Picking

Consecutive Strokes

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exercise 6

Consecutive "Down" to "up" strokes

This exercise gets more into the real world as this type thing occors in many jazz phrases. Apply to any two adjacent strings using the double stop of your choice. Do not let notes ring!

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Consecutive "Up" to "Down" strokes

Same as previous exercise but in reverse. Do not let notes ring!

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It is necessary to play the above exercises evenly . At this stage, precision of the 8th

notes is more important than speed.

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Page 12: Jimmy Bruno - The Art Of Picking

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Triplets

exercise 8exercise 8exercise 8

I have found when playing triplets with a repeating pattern such as a triad or some otherpattern, it is better to break the rule. Instead of playing the exercise like this,

The following exercise uses a major triad with a triplet rhythm

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use three "down-strokes" followed by three "up-strokes". Apply to any three note chord onany three adjacent strings. This exercise is designed to practice three consecutive strokesin the same direction.

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however, if I had to play a triplet phrase in the context of a line and not in an exercise,I would adhere to the rule. The following phrase illustrates my point.

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Page 13: Jimmy Bruno - The Art Of Picking

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exercise 9

The next exercise illustrates triplets with the rule applied. This is more likely to occur in a jazz phrase.

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or like this with 16th notes. Pay close attention to the accents.

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Page 14: Jimmy Bruno - The Art Of Picking

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This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

.

This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

.

This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

.

This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

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This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

.

This exercise requires you to reverse direction on the same string. A common stroke that happens with repeated notes Apply this exercise to any four note chord anywhere on the guitar.

.

Sixteenth notes

exercise 10

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Page 15: Jimmy Bruno - The Art Of Picking

The Major Scales

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�exercise 12

2

Below are the six basic fingerings for the major scales. This will give you an idea how the rule works on any sclae or scale type passage.. For more info on these fingerings see my book "Six Essential Fingerings for the Jazz Guitarist" at www.jimmybruno.com

Picking applied to Major scale fingering 6V2

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Page 16: Jimmy Bruno - The Art Of Picking

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exercise 13

Picking applied to Major scale fingering 5V2

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Page 17: Jimmy Bruno - The Art Of Picking

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exercise 14

Picking applied to Major scale fingering 6V4

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Page 18: Jimmy Bruno - The Art Of Picking

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exercise 15

Picking applied to Major scale fingering 5V4

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Page 19: Jimmy Bruno - The Art Of Picking

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exercise 14

Picking applied to Major scale fingering 6H2

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Page 20: Jimmy Bruno - The Art Of Picking

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exercise 14

Picking applied to Major scale fingering 5H2

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Page 21: Jimmy Bruno - The Art Of Picking

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Arpeggios

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The difficulty with any arpeggio exercise , is keeping the notes from ringing. Articulatioin is more importanthan speed.

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Although this is not a book about arpeggios, I feel it is important to include a few basic arpeggios so that you can see the picking method applied to arpeggios.

Major 7ths vertical

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Page 22: Jimmy Bruno - The Art Of Picking

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Major 7ths horizontal

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Major 7ths horizontal

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Page 23: Jimmy Bruno - The Art Of Picking

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minor 7ths vertical

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Page 24: Jimmy Bruno - The Art Of Picking

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minor 7ths horizontal

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8 5

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1 4 3 11

5 87

5

4 4 2 4

7 1010

8

2 4 4

10 810

10

1 3 4 1

7 57

8 5

18

Page 25: Jimmy Bruno - The Art Of Picking

��

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98���

Major triad exercises: This makes a great warm-up exercise. It is very difficult to play with clean articulation. The result is well worth the time. This exercie alone willfacilitate the separtion of notes with any phrase that contains an arpeggio or arpeggio fragment.

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1 4 4

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44

8 12 1515

1412

1312 15 20 15 12

4

1312

14

41 1

1515 12 8

1 1 4

7 11 1414

1311

1211 14 19 14 11

4

1211

13

4 1 1

1414 11 7

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100���

Fingering and picking is the same throughout.

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1312

1011

10 13 18 13 1011

1012

1313 10 6 5 9 12

1211

910

9 12 17 12 9 55

67

79 5

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19

Page 26: Jimmy Bruno - The Art Of Picking

102���

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1110

89

8 11 1611 89

810

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109

78

7 10 1510 78

79

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98

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6 9 14 9 6 22

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4 12 1 5 8

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10

0 4 7 12 7 4 00

12

24 0

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20

Page 27: Jimmy Bruno - The Art Of Picking

��

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107���

Minor 9 arpeggios: I have seen this referred to as sweep pickingI see no reason to make any distinction. Everything follows the rule: Higher string = "down stroke" Lower string = "up stroke"

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7

�10

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7

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fingering is the same throughout

5 87

65

67

8 5�

109

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43

45

6 3�

5 87

65

67

8 5�

21

Page 28: Jimmy Bruno - The Art Of Picking

111���

��

Minor 11 arpeggios: Because of the fingering it is possible to play 6 notes in one beat.(sextuplet)The fingering sets up the consecutive down and up strokes to go across four strings. Saxophone playersand pianists use phrases like this.

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1 4 3 21

7 109

8

4 1 2 3 4 1

7 10 78

910 7

1 4 3 2 1

5 87

6

4 1 2 3 4 1

5 8 56

78 5

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simile

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simile

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�fingering is the same throughout

3 65

43 6 3

45

6 3

5 87

65 8 5

67

8 5

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22

Page 29: Jimmy Bruno - The Art Of Picking

115���

Minor 11 arpeggios: This is more of the same but with groups of quintuplets.

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1 4 3 2 1 4

7

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53 7

1 2 3 4 1

10

78

9 57

5

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5

8

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simile

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54

3 6

34

56 3

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8

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23

Page 30: Jimmy Bruno - The Art Of Picking

��

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119���

Minor 9th arpeggios: Below are several ways to pick this. Again, the fingering makesthe speed possible.

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1 2 3 4 1

7

8

�9

�10

�7

�fingering is the same throughout

5

6

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4

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120���

I have found when there is a rest between phrases,it is possible to break the rule and use whatever stroke youplease to start the phrase. Below I used an up stroke to starteach phrase..

fingering is the same throughout

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Try starting any phrase with both strokes, down and up. There should be only a slieght difference in sound..

7

8

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6

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� 3

4

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24

Page 31: Jimmy Bruno - The Art Of Picking

121���

Minor 9th arpeggios:By using fingerings that place notes on adjacent strings, either higher or lower,these large two octave arpeggios become possible.

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1 4 3 11

5 87

5

4 3 2 1 4 1 2 3 41

7 109

87 10 7

89

10 7

fingering is the same throughout

3 65

3 5 87

65 8 5

67

8 5

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�simile

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To illustrate all the possible arpeggios is beyond the scope of this book. The main point to remember is that thefingering will determine the picking. By placing as many notes of an arpeggio on adjacent strings, the easier the so called"sweep" becomes. I am not fond of that term; to me there is only one way to think about it: "When going to ahigher string always use a "down stroke" , when going to a lower string always use an "up stroke." " I often run across guitaristswho become misled into thinking that picking for single lines is different than picking for arpeggios. You have to be carefulto NOT let the fingerboard make the music. The music comes from inside; the picking mechanism described in this bookis designed to make it easier for the music to be realized. ¸

31

0 30 3

31 5 8 5 1

33 0

31

0 30 3

31 5 8 5 1

33 0

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25

Page 32: Jimmy Bruno - The Art Of Picking

��

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String Skipping

125

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exercise 14

Skipping Strings

1

When skipping strings the same rule applies: When going to a higher string use a down-stroke; when going to a lower string, use an up-stroke.

1 4

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Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

5

3

5

�8

�6

�5

�7

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5

�8

�6

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127

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exercise 15

Here's the same thing in the opposite direction

1 1 3

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Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

5

�5

�7

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�6

�8

5

�5

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�7

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�6

�8

5

26

Page 33: Jimmy Bruno - The Art Of Picking

��

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129

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�exercise 16

1

This exercise is a bit more difficult. It uses the same exercise but with the "in-between-stroke".

1 4

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Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

5

5

�8

�6

�5

�7

�5

�5

5

�8

�6

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131

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�exercise 17

1

Here's the same thing in the opposite direction

1 3

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Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

5

�5

�7

�5

�6

�8

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�5

�7

�5

�6

�8

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27

Page 34: Jimmy Bruno - The Art Of Picking

133���

��

Consecutive down-up strokes with a string skip.

START THIS EXERCISE WITH BOTH STROKES, DOWN AND UPexercise 18

1 1 2

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Consecutive up-dwon strokes with a string skip.

Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

5

5

6

�7

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5

6

�7

�5

5

6

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5

6

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��exercise 19

2

START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

3 1

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� Apply this exercise to strings (4 and 2), (5 and 3) and (6 and 4). Use any notes you like.

6

�7

�5

5

6

�7

�5

5

6

�7

�5

5

6

�7

�5

5

28

Page 35: Jimmy Bruno - The Art Of Picking

��

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137

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exercise 20

Sixth with a string skip.

START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

21 3

4 1���� �� �

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24

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3 4 1 3

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7

8

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8

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140

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exercise 21

2

START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

3 1 1 4

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9 7

710

10 9

810

710

9 7

8 710 9

10 8�

29

Page 36: Jimmy Bruno - The Art Of Picking

143���

��

In-Between stroke with a string skip

exercise 22

START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

2 3 1 1 4

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24

13

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2 2

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7

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146���

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exercise 23

This exercise is very difficult to master. You need to put an accent on the "up-stroke" while skipping a string. It uses the "in-between" stroke with a string skip. You should also practice thiswith an alternate stroke. I find that when playing exercises like this it is easier to play them with alternating "down" - "up" strokes

� START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

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START THIS EXERCISE WITH BOTH STROKES, DOWN AND UP

8

�7

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7

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8

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30

Page 37: Jimmy Bruno - The Art Of Picking

��

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Be-Bop Phrases

149

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exercise 24

21 4

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exercise 25

3 41 2

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2

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1 2

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31

Page 38: Jimmy Bruno - The Art Of Picking

157���

exercise 26

4 3 2 1

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��3 2 1

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7

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9

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7

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9

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7

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9

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7

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9

161���

exercise 27

1 2 3 43

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1 2 3 43

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1 2 3 43

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1 2 3 43

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7

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7

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32

Page 39: Jimmy Bruno - The Art Of Picking

165���

exercise 28

1 2 3 43

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11

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3

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3

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11

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3

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8

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8

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8

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8

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exercise 29

3 4 11

1

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23

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1

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23

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1

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1

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2

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7

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5

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7

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5

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33

Page 40: Jimmy Bruno - The Art Of Picking

��

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173

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exercise 30

Here's the same phrase in the 7th position. This changes the picking considerably.

1 2 34

3

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11

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3

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3

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11

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3

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1

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7

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7

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7

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7

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177

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exercise 31

1 2 3

�� ��1 1

�� ��1

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�� ��1 1

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5

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4

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2

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4

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2

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34

Page 41: Jimmy Bruno - The Art Of Picking

181���

exercise 32

1

��2 3 1

1

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��2 3 1

1

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1

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1

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6

�7

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4

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4

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2

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6

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4

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4

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185

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exercise 33

� ����

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�� ��� �� ��� �� ��� ���

� � 6

7

�6

5

8

5

6

7

7

4

5

�4

3

6

3

4

5

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7

�6

5

8

5

6

7

7

4

5

�4

3

6

3

4

5

35

Page 42: Jimmy Bruno - The Art Of Picking

189���

exercise 34

Slurred Triplets

1

1st example: Picked

2 1

4

�� ��� ��2 1

�� ��3

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2nd example: Slurred

1 2 1

4

�� �� �2 1

�� ��3

�� �� �

5

6

5

�8

�6

�5

�7

��

I prefer the 2nd example; it sounds more horn-like

5

6 5 3

1

0

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191

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exercise 35

with the down stroke

Learn how to slur triplets with a "down-stroke" and an "up-stroke"

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�� � �with the up stroke

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5

6 58

�6

5

6 58

�6

5

6 58

5

5

6 58

5

36

Page 43: Jimmy Bruno - The Art Of Picking

193���

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6

�8 6 5

�7

�6

6

5

�5

�8

�7

6

�8 6 5

�5

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195���

Same example starting with an "up-stroke"

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6

�8 6 5

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6

5

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�7

6

�8 6 5

�5

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37

Page 44: Jimmy Bruno - The Art Of Picking

Articulations

197���

I think of articulations as inflections. When someone is speaking not all the words have the sameaccent, volume, inflection etc. When playing lines you need to alter the inflection of thenotes; not all the notes are long or short or accented. These inflections are accomplishedby slurring notes. Pick one note and play two notes.The following exercises illustrate this point . They are all typical be-bop phrases

3

��4 1 1

1

�� �� ��4

� �� �

3

��4 1 1

1

�� �� ��4

� �� �

�7

8 55 4

7� 7

8 55 4

7�

199���

The same phrase in a different position

1

��2 3 4

��� �� ��1

� �� �

1

��2 3 4

3

�� �� ��1

� �� �

�7

3

89

10 9 7� 7

89

10 9 7�

38

Page 45: Jimmy Bruno - The Art Of Picking

Here's a typical be-bop phrase.

Notice how the different articulations effect the sound

201���

Here is the phrase without slurs

� ���

�� �� �� �� ���make sure you play these last two notes, long, short.

�� ��� ���� ��� � �

� �9

��

10

�9

�8

7

6

�10

�9

�8

���9

��� �

203���

Here is the phrase with one slur

� ���

�� �� �� �� �� �� ��� ���� ��� � �

� �9

��

10

�9

�8

7

610

�9

�8

���9

��� �

39

Page 46: Jimmy Bruno - The Art Of Picking

205���

Here is the phrase with the slur moved to the next beat.

� ���

�� �� �� �� ��� �� �� ���� ��� � �

� �9

10

�9

�8

7

6

�10

�9 8

���9

��� �

207���

Here is the phrase with two slurs

� ���

�� �� �� �� �� �� �� ���� ��� � �

� �9

10

�9

�8

7

610

�9 8

���9

��� �

40

Page 47: Jimmy Bruno - The Art Of Picking

��

��

209

��

��

���

No slurs

�� �� ��� �� ��� ��� �� ��� �� �� �� �� ��� ��� �

� 9

�7

�7

�10

�9

�6

�7

�8

�7

�5

�5

�8

�7

�4

��

211���

Try moving the slur over any two notes that are on the same string.

With slurs

�� �� ��� � ��� ��� �� ��� �� �� �� � ��� ��� �

� 9

�7

�7

�10 9

�6

�7

�8

�7

�5

�5

�8 7

�4

��

41

Page 48: Jimmy Bruno - The Art Of Picking

��

��

213���

� �

I've added a few slurs. Experiment adding your own slurs at different places

�����

�� �� �� �� � �� � � ���

�� �� �� � �� �� �

� � 6

��

7

�6

5

8

5

6

7

7

4

5

�4

3

6

3

4

5

215

��

��

���

� � �����

�� �� �� �� �� �� �� � ���

�� �� �� �� �� �� ��

� � 6

��

7

�6

5

8

5

6

7

7

4

5

�4

3

6

3

4

5

42

Page 49: Jimmy Bruno - The Art Of Picking

��

��

Breaking the rules

217���

There are special circumstances where is may be desireable to break the rules. In the example below, I use consecutive down strokes to emphsis certain notes. This type picking is useful when youare trying to emulate a big band type phrase.

��� ���� �� � �� ��� ��� � �

�6

6

��

6�

8

�7

��8

��� �

219

��

��

���

���� �� ��

���� ��

�6

8

9

���8

��

6

43

Page 50: Jimmy Bruno - The Art Of Picking

��

��

221

��

��

���

Here is the same type phrase with slurs.

���� � �� ��� � �� ��� � �� ���� ���� � �

�6

��

8 6 6

��

8 6 6

��

8 6 �3

��

1

��� � �

223���

����

When there is a rhythmic break between notes, you may want to use to down strokes.

� �� � ���� � ��� ��� �

�6

�� 6

�� 6

��

89

�6

���

44

Page 51: Jimmy Bruno - The Art Of Picking

Conclusion

Picking is a habit. Habits are hard to break but not impossible. The longer you have been playing, the harder it will be to change. With a moderate amount of practice and a lot of patience, anyone can improve their technique. The key is repetition. Do not overanalyze your right hand movements. After a short time, these strokes will become second nature. If you have any questions or comments, feel free to email me at [email protected]

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