Alternate Picking Verses Economy Picking

Mark Minardi; Lincoln Park, NJ

Q: In studying my picking technique I've found that I employ a bit of "economy picking" mixed into my alternate picking. I developed this method without really knowing the difference between the two techniques in my early days of learning to play. Now this "mixed mode" picking technique is very ingrained in my picking hand and I'm having a tough time adopting strict alternate picking (I'm just so much faster using my old way). It just seems to take longer to have to cross a string to pick it from the other side when I was already there before crossing past it! I've heard that SAP (strict alternate picking) will provide for much better timing and I do seem to understand that since the parts of my runs where I use economy picking can end up sounding rushed if I'm not careful.

Do you feel it's necessary to use SAP to really advance your technique? What are your thoughts on economy picking? Thanks.

A: Picking is so important to progress from a good guitarist to a great guitarist. If you play things that are not too challenging all the time you can pick almost any way you want but if you want the ability to play 64th notes at 140bpm you better have you alternate picking down cold!!!

What you are referring to as "economy picking" is also called "cross picking"; this picking style that encounters multiple down or up pick strokes in a row can be effective at times. When doing certain sweep picking patterns I use this technique very effectively.

Here is the bottom line ... If you want to play at very fast speeds with a smooth flowing sound you must be able to alternate pick well. The consistent up-down motion of your fingers when alternate picking creates a rhythm that allows you to gain momentum and build serious speed.

Practice exercises that concentrate on alternate picking and do them regularly; you will see a difference in a short amount of time that will have you rippin' up those strings.

Hope this helps,
Yours in Music
John McCarthy
Rock House Guitar

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With the mergers and pending mergers of EMI to Warner Bros. and BMG with Sony, there will be only three major record conglomerates in America. This means that there will be fewer and fewer A&R Reps out there looking for new talent.

One of the most difficult things to understand is what the A&R Community is really looking for. What does an artist have to have to get signed to a recording contract? For lack of a better name, I call these intangible things "signing ingredients." And the more of them you have, the more likely you are to get signed!

During my 35 years as an Editor and Music Journalist, I've interviewed over 250 members of the A&R Community and, based on those interviews, was able to compile a Top 10 list of important signing ingredients. So, in order of their importance, here's what you need to get signed:

1. Passion
That intangible, inner-emotion a singer or band possesses that makes him/them believable. Otis Redding, Janis Joplin, Aretha Franklin, and yes, even newcomer Fantasia—all possess it.

2. Songs
The very essence of success. The reason this did not come in at #1 is that songs can come from many different places—publishers, covers of other songs, the artist himself, collaborations, etc. So, if the artist isn't an amazing songwriter, he/she can still obtain amazing songs.

3. Live Show
This is how a musician sells his CDs and merchandise. A poor live show, and you turn off your audience. A great live show, and you've made a fan for life. Live shows also tell an A&R person whether you are communicating with your audience and if they are accepting your music. Remember, there are no small shows!

4. Star Quality
Is there someone bigger than life in your band? A Gene Simmons? A Mick Jagger? Rock star Billy Idol wasn't much of a singer, yet he went on to become an international rock icon because of his star quality. Skid Row's Sebastian Bach had star quality. Ditto Axl Rose. Remember them?

5. Marketability
Can your image and music be marketed to a targeted audience? Who is likely to buy it and why? There is little demand for Lithuanian accordion music, so regardless of how you shine on that instrument, the chances of you landing that big-bucks record deal are slim, at best. Ever wonder why Backstreet Boys, 'N Sync and the Divas all do big business?

6. Group Focus
For a solo artist or duo, this is a no-brainer. But, as a band, is everyone pulling in the same direction? Does the band/artist have a plan? Is the manager aligned with the artist's plan? Where are the trouble spots? Who's holding back the train?

7. Hunger
How hungry are you to make it? And I don't mean when did you eat last! Is the artist spoiled? Will the artist do anything to make it? Are they willing to earn a record deal? Many artists that have been around for years are under the misconception that because they're still performing and staying together, they've earned the right to be signed. Not true.

8. Business Savvy
Does the artist know how things in this industry really work? What kind of "Pro-Team" have they assembled? Do they need a manager? Attorney? What do they expect?

9. Red Flags
Are there any troublemakers in the band (or is the solo artist himself unreliable)? Any personal problems like sex? Drugs? Money problems? Is there anything or anyone that might prevent this artist from pursuing a career in the music business? Girlfriend? Boyfriend? Former wife? Children?

10. A&R Instinct
What does my A&R instinct tell me about this artist? Am I in love with this band? Am I willing to risk my job, my benefits, my vacation and my expense account to get them signed? What do others in my company think? Bringing an act into a record company when you are the only one championing their cause is the beginning of the end—for both of you.

Before making his final decision, an A&R person will see how many of these talent ingredients his act has—and then go from there. Considering it takes about one-million dollars to properly promote each new act, don't expect a flurry of signings at any one label.

Excerpted from the best-selling book "Going Pro" written by Kenny Kerner and published by Hal Leonard. You can order this book by calling 800-637-2852