147 - 5 Picking Patterns that Changed Acoustic Guitar Forever

Are you ready to learn some guitar history AND learn 5 awesome picking patterns? I'm covering these 5 picking patterns because they essentially transformed how we listen and play to the acoustic guitar.

In this video, I'll introduce each picking pattern and explain it's origins. From there, you'll get an awesome example of what the picking pattern sounds like and who has continued to use and innovate on the original pattern.

Also in this video, I'm featuring Halland Guitars in Livingston, Montana. This is an excellent builder who is making some seriously crafted acoustic guitars. Last but not least, I want to feature an Acoustic Tuesday viewer who is combining the spirit of heavy metal music with the sound of acoustic guitar.

So, without further ado, let's dive right into the 5 picking patterns that changed acoustic guitar forever!

Picking Pattern #5: The Carter Scratch

While the Carter scratch is typically associated with Maybelle Carter of the Carter Family, it actually originated with Lesley Riddle. Using the thumb to predominantly play melodies, the Carter scratch was revolutionary in its day.

Instead of being primarily a rhythm instrument, the Carter scratch allowed the guitar in folk and country music to become a melody instrument. Other names for the Carter scratch include the 'thumb brush' technique, the 'Carter lick,' and also the 'church lick.'

Picking Pattern #4: Travis Picking

Stemming from the Carteeer scratch, Travis picking gets its name from Merle Travis. You see, Merle Travis used an alternating thumb technique to drive the bass while the rest of his picking hand played a syncopated melody gets played on the higher strings.

What's interesting is that Travis didn't necessarily invent Travis picking as we know it today. He often referred to his style of playing as "thumb picking", possibly because the only pick he used when playing was a banjo thumb pick, or "Muhlenberg picking", after his native Muhlenberg County, Kentucky, where he learned this approach to playing from Mose Rager and Ike Everly.

Picking Pattern #3: Flatpicking

So, this specific conversation revolves around not just using a pick but using a pick to play fiddle tunes on guitar. While we can't tie this style of playing to one specific player, some of the early adopters of this flatpicking style include George Shuffler, Alton Delmore, Johnny Bond, Don Reno, and Bill Napier.

Prior to these players, the lead guitar was sparsely used — when it was used, it was a novelty instead of being the norm that it is today.

From these early players, we have artists like Riley Puckett, Clarence White, Doc Watson, Tony Rice, and so many others who made bluegrass and country guitar the huge success that it is today. Those artists have now handed the torch to younger artists like Billy Strings and Molly Tuttle.

Picking Pattern #2: Crosspicking

Think of crosspicking as combining the momentum of the banjo with the melodic qualities of flatpicking. It has a harp-like texture that can be simultaneously delicate and powerful.

George Shuffler is credited with creating the crosspicking technique as a way to "fill-in" sound while playing with the Stanley Brothers. Because he was playing in the "lean" years of bluegrass, the touring groups didn't use large bands with mandolin, banjo, drums, or bass. As a result, George created a unique style to cover the Stanley Brothers in between vocal phrases.

Picking Pattern #1: Percussive Fingerstyle

While simultaneously an approach to guitar and a picking pattern, percussive fingerstyle really changed the way acoustic guitarists approach the instrument.

Moving beyond the traditional restrictions of just playing fretting and plucking the strings, percussive fingerstyle utilizes the body of the guitar, harmonics, alternate tunings, tapping, and more to create a wide range of tones, sounds, and textures.

We can trace a lot of percussive fingerstyle techniques back to Michael Hedges who really revolutionized this style.

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