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Hybrid picking

Hybrid picking is a guitar technique that combines the use of a flatpick (plectrum) held between the thumb and index finger with the simultaneous or alternating use of one or more fingers—typically the middle, ring, or pinky—of the picking hand to pluck strings, blending flatpicking and fingerstyle approaches for enhanced articulation and speed.^[1]^[2] This method emerged as a versatile hybrid of traditional picking styles, drawing influences from bluegrass banjo techniques adapted to the guitar, and gained prominence in country music during the mid-20th century through innovators who sought to replicate banjo-like rolls and bass-melody separations on the instrument.^[3] It allows guitarists to execute complex patterns, such as alternating bass lines with the pick while fingers handle higher-string melodies or arpeggios, enabling precise multi-string attacks that mimic piano voicings or facilitate rapid string-skipping in solos.^[2] The technique's benefits include greater dynamic control, seamless transitions between strumming and intricate picking, and expanded expressive range across genres like country, rock, jazz, and blues.^[1] Hybrid picking has been notably employed by influential guitarists such as Chet Atkins, who integrated it into his signature fingerstyle-country sound for boom-chick rhythms and melodic lines; Albert Lee, renowned for his lightning-fast country-rock applications; and Brent Mason, a Nashville session legend whose subtle hybrid work defines modern Telecaster tones.^[2]^[1] Other prominent users include Brad Paisley for contemporary country flair, Eric Johnson for rock precision, and Zakk Wylde for heavy hybrid rolls, demonstrating its adaptability from acoustic fingerpicking to electric shredding.^[2] Today, it remains a staple in guitar education and performance, valued for developing hand independence and unlocking idiomatic phrases otherwise challenging with pure flatpicking or fingerstyle alone.^[1]

Introduction

Definition

Hybrid picking is a guitar technique that combines the use of a plectrum, or pick, held in the picking hand with the simultaneous or alternating plucking of strings using one or more fingers, typically the middle and ring fingers.^[2] This approach allows guitarists to blend the precision and attack of flatpicking with the expressiveness of fingerpicking, enabling the execution of complex passages that would be challenging with either method alone.^[1] The primary applications of hybrid picking include creating alternating bass lines with the pick on lower strings while the fingers articulate melodies, harmonies, or arpeggios on higher strings, thereby enhancing polyphony and dynamic range in performances.^[4] It is particularly valued for producing rich textural effects, such as string-skipping licks and chord voicings with clear note separation, common in genres like country, rockabilly, and bluegrass.^[2] Unlike pure picking techniques, which rely exclusively on the plectrum for all string attacks, or fingerstyle methods that dispense with the pick entirely, hybrid picking emphasizes the deliberate integration of both tools to achieve unique timbral qualities and seamless transitions between strumming and intricate plucking.^[5] The term "hybrid picking" was coined in the late 20th century to describe this fusion, though the practice predates the nomenclature, as demonstrated by influential players like James Burton in the mid-20th century.^[3] Hybrid picking differs from flatpicking, which relies exclusively on a plectrum to strike all strings, by incorporating finger plucking to enable simultaneous bass lines and treble melodies without frequent hand position changes.^[6]^[7] This addition allows for more fluid execution of polyphonic passages, contrasting flatpicking's emphasis on consistent pick attack for bright, articulate tones in genres like bluegrass and folk.^[8] In comparison to fingerstyle, which uses only the fingers or fingerpicks without a plectrum, hybrid picking integrates the pick to provide a stronger, more defined attack on lower strings, enhancing volume and sustain particularly on acoustic guitars.^[9]^[7] While fingerstyle excels in nuanced thumb-driven bass patterns and finger independence for intricate melodies, hybrid picking offers a hybrid tone that bridges the warmth of fingers with the precision of a pick, though it may sacrifice some of fingerstyle's subtle dynamic control.^[6]^[8] Unlike economy picking or sweep picking, which prioritize speed through efficient pick motions—such as combining alternate strokes with sweeping across strings for rapid arpeggios—hybrid picking focuses on alternating the pick with fingers to create layered, polyphonic textures rather than velocity-driven solos.^[6]^[9] These pick-centric techniques, common in metal and shred guitar, emphasize minimal motion for scale runs, whereas hybrid picking's finger integration suits more melodic, syncopated lines without the same emphasis on blistering tempos.^[7] Among its advantages, hybrid picking provides greater tonal variety by blending pick sharpness with finger warmth, facilitates easier chordal accompaniment during solos, and adapts well to both acoustic and electric guitars for versatile expression.^[9]^[7] It serves as a bridge between flatpicking and fingerpicking traditions in country music. However, it demands significant coordination practice to synchronize pick and finger movements, and improper technique can lead to uneven tone or string noise.^[6]^[8]

History

Origins

Hybrid picking emerged in the mid-20th century within American country and Western music traditions, heavily influenced by banjo and fiddle practices that demanded the integration of bass lines with melodic elements to support dance rhythms in small string bands.^[10] These roots trace back to the fusion of European immigrant fiddling and African American banjo innovations on Southern plantations, where instruments collectively provided harmonic foundation and lead lines simultaneously, laying groundwork for guitar adaptations.^[10] Predecessors to the formalized technique appeared in the 1930s and 1940s Western swing scene, particularly through the Texas Playboys led by Bob Wills, where guitarists like Derwood Brown and Muryel "Zeke" Campbell incorporated bass runs and lyrical single-note solos in ensemble settings.^[11] These elements, often played on early electric guitars like the Gibson ES-150, allowed for greater volume and complexity in big band-style arrangements but remained unstandardized until the postwar electrification of country music.^[11] The technique crystallized in the 1950s with pioneering guitarist James Burton, who adapted a flatpick for thumb-like bass notes while using his fingers to pluck higher strings, drawing directly from banjo influences to create a versatile sound on the Fender Telecaster.^[12] Self-taught in Shreveport, Louisiana, Burton refined this "chicken picking" approach— a percussive variant of hybrid picking—during mid-1950s performances at the Louisiana Hayride and in his 1957–1966 tenure with Ricky Nelson's band, where it featured prominently on television and recordings.^[12] He extended its use in the 1960s through session work with Elvis Presley and the Wrecking Crew, enabling efficient accompaniment in compact studio and live contexts for rockabilly and country ensembles.^[12] By the 1970s, hybrid picking gained recognition amid the rise of finger-pick-flatpick hybrids in country and rock contexts.

Evolution and popularization

Hybrid picking, building on its early roots in country music exemplified by pioneers like James Burton, began expanding in the 1970s and 1980s beyond traditional Nashville sessions into rock and pop contexts.^[5] Session musicians such as Brent Mason in Nashville adopted and refined the technique for intricate passages, contributing to recordings for artists like George Strait, where it added dynamic texture to country hits.^[13] This period also saw progressive rock guitarists like Steve Howe popularizing hybrid picking in broader rock applications, blending it with complex phrasing to enhance melodic lines.^[1] The 1990s marked an instructional boom that formalized hybrid picking's teaching, with videos and books making the technique more accessible. Educators like Happy Traum incorporated hybrid elements—such as using a flatpick with middle finger plucking—into fingerstyle resources, while workshops at guitar camps began featuring dedicated sessions on the method.^[14] Publications from outlets like Mel Bay, including works on hybrid approaches, further standardized its pedagogy, drawing from influences like Danny Gatton's earlier demonstrations.^[15] In the 2000s, digital platforms accelerated adoption, with online tutorials and YouTube (launched in 2005) democratizing access to advanced examples. Players like Guthrie Govan showcased sophisticated hybrid applications in fusion and rock contexts through magazine lessons and videos, inspiring a new generation to integrate it into diverse styles.^[16] The technique achieved global reach through fusion genres in Europe and Asia, where it merged with local traditions in progressive and jazz-rock scenes.^[17] By 2025, hybrid picking has become integrated into formal guitar curricula at institutions, preparing students for versatile performance careers, and apps like Swybrid Picking Guitar School offer simulated exercises for practice.^[18]^[19] Digital audio workstations have also facilitated hybrid emulation via plugins that replicate pick-and-finger articulations in virtual instruments.^[20]

Technique

Fundamentals

Hybrid picking involves holding the pick between the thumb and index finger of the picking hand, leaving the middle, ring, and sometimes pinky fingers free to pluck strings independently.^[2]^[16] The right hand is typically anchored lightly on the pickguard, bridge, or low strings for stability, which helps maintain consistent positioning during play.^[21] This setup allows for efficient movement while promoting wrist relaxation to prevent tension and fatigue.^[22] In terms of string attack, the pick is used to strike the lower strings—often the bass notes—downward or in alternate strokes for a defined, percussive tone, while the fingers pluck the higher strings upward or simultaneously to create melody lines or harmonic layers.^[2]^[16] Finger plucks can employ the fleshy pad for a warmer sound or the nail edge for brighter attack, enabling precise control over non-adjacent strings that would be challenging with pick alone.^[2] This combined approach originated in country music traditions to emphasize bass lines alongside melodic fills.^[23] Grip variations range from a light hold on the pick to prioritize finger dominance and fluidity, to a firmer grasp for balanced pick attack and power on bass strings.^[22] In both cases, maintaining a relaxed wrist and minimal tension in the thumb-index pinch is essential to facilitate independent finger motion without restricting the pick's articulation.^[24] Essential tools for hybrid picking include medium-thickness picks, typically 0.7-1.0 mm, which provide sufficient control and tone without excessive stiffness that could hinder finger integration.^[25] This technique is versatile across acoustic guitars with nylon or steel strings and electric guitars, as the finger plucks adapt well to amplified tones.^[16] Common challenges include developing independence between the pick and fingers, as initial attempts may result in uncoordinated timing or unintended string muting.^[22]^[26] To address this, practitioners often start with basic exercises such as alternating simple bass notes (picked) with melody notes (plucked) in open keys like E or A, focusing on slow tempos to build synchronization before increasing speed.^[24]^[27]

Execution and patterns

Hybrid picking execution begins with establishing a stable right-hand position, where the pick is held between the thumb and index finger to target bass strings, while the middle and ring fingers (and optionally the pinky) are used to pluck higher strings, allowing for simultaneous bass and treble articulation.^[16] This setup enables the "boom-chicka" rhythm, a foundational pattern common in rhythm playing, in which the pick downstrokes a bass note—typically the root of the chord—on beats 1 and 3, followed by the fingers plucking chord tones on the higher strings on the off-beats to create a syncopated, driving feel.^[16] For instance, in the key of G major with an open G chord, the pick strikes the 6th string at the 3rd fret (G) for the bass note, while the middle finger plucks the open 3rd string (G), the ring finger plucks the open 2nd string (B), and the pinky plucks the 1st string at the 3rd fret (G), producing a clear chordal strum that mimics banjo or piano comping.^[24] This pattern emphasizes even dynamics between pick and fingers, with the fretting hand forming full chord shapes to ensure harmonic richness.^[16] An extension of this is the alternating bass pattern, a hybrid adaptation of Travis picking, where the pick alternates between root and fifth notes on the lower strings to provide a walking bass line, while the index and middle fingers arpeggiate melody or harmony notes on the upper strings, creating a thumb-independent polyphonic texture.^[24] In practice, for a G major progression, the pick might alternate between the 6th string at the 3rd fret (G, root) and the open 4th string (D, fifth), with fingers rolling across the G, B, and high E strings to outline the chord's arpeggio, fostering a fluid, fingerstyle-like accompaniment suitable for solo guitar arrangements.^[16] This variant builds independence by assigning specific strings to each finger—often middle for the G string and ring for B/high E—allowing the pattern to loop seamlessly across chord changes.^[24] For melodic integration, hybrid picking facilitates crossing strings by using the pick for targeted melody segments on bass or mid-range strings, while fingers supply harmonic support or counterpoint on treble strings, enabling expressive lines that blend lead and rhythm.^[24] A common approach adapts 3-finger rolls from Carter-style playing, where the pick downstrokes a bass melody note (e.g., on the D string at the 7th fret in a G major context), followed immediately by the middle finger plucking the G string (6th fret) and ring finger the B string (5th fret), creating a cascading arpeggio or banjo-roll effect that adds fluidity to scalar runs or chordal fills.^[16] This technique shines in transitions, such as shifting from a picked bass walk-up to finger-plucked chord tones, maintaining momentum without pausing for position changes.^[24] Developing speed and dynamics involves a gradual buildup, starting at 60 beats per minute with a metronome to ensure clean separation between pick and finger attacks, then incrementally increasing tempo while incorporating palm muting—achieved by lightly resting the heel of the picking hand on the bridge—for percussive, muted bass notes that enhance rhythmic punch without overpowering the fingers' articulation.^[16] Practice focuses on relaxed wrist motion to vary volume, from soft finger plucks for subtle harmony to aggressive pick strikes for emphatic bass, allowing dynamic swells within patterns like the boom-chicka.^[24] Troubleshooting common issues includes addressing string noise by using the fretting hand's unused fingers to lightly mute adjacent strings (denoted as 'X' in tablature exercises), preventing unwanted ringing during string skips or crosses, and combating hand fatigue through short sessions emphasizing loose finger independence rather than tension.^[16] Scale-based exercises, such as navigating the G major pentatonic scale (notes: G, A, B, D, E) with hybrid picking—pick on descending bass notes while fingers handle bends and hammer-ons on higher strings—help integrate the technique into melodic playing, particularly for country-style bends where the pick anchors the root and fingers execute wide vibrato or half-step pulls on the B string.^[24] These exercises start simple, like a single-octave pattern from the 3rd to 15th fret, gradually adding bends to build precision and endurance.^[16]

Notable Practitioners

Pioneers

James Burton (born 1939), a pioneering figure in rockabilly and country guitar, introduced hybrid picking to mainstream audiences during the 1950s through his innovative "chicken pickin'" style, which combined a flat pick held between thumb and index finger with middle and ring fingers plucking higher strings for a percussive, banjo-like snap.^[28] This technique, often employing a thumbpick variant for enhanced attack, became a hallmark of his work on Fender Telecaster guitars, delivering the bright twang essential to early rockabilly. Burton's contributions extended to Elvis Presley's recordings, where he applied hybrid picking on hits like "Suspicious Minds" (1969), using it to craft the song's iconic opening riff with precise string independence and rhythmic drive that blended country precision with rock energy.^[29] Chet Atkins (1924–2001), a cornerstone of the Nashville sound in the 1960s, blended hybrid picking elements with traditional fingerstyle to create lush, orchestral textures on acoustic and electric guitars, emphasizing thumb-driven bass lines alongside finger-plucked melodies for a seamless pick-finger duality.^[30] As a producer and performer at RCA Victor, Atkins integrated this approach into the polished "countrypolitan" aesthetic, influencing session work across genres. Tracks like "Yankee Doodle Dixie" (from his 1957 album Chet Atkins at Home) exemplify this fusion, where hybrid elements allow simultaneous execution of dual melodies—marching bass against fiddle-like highs—showcasing clarity and polyphonic depth on Gretsch electrics.^[31] Albert Lee (born 1943) adopted and refined hybrid picking in the 1970s, pioneering its integration into rock-country fusion through fast, articulate leads that merged flatpicking speed with finger dexterity for fluid scalar runs and chordal embellishments.^[32] His tenure with Emmylou Harris' Hot Band, starting in 1975, highlighted this precision in studio sessions for albums like Luxury Liner (1977), where hybrid picking drove solos with boppity bounce and string-skipping agility, bridging folk-rock balladry and upbeat country shuffles on Telecaster setups.^[33] Lee's intuitive development of the technique, honed in British pub rock bands like Headband, elevated hybrid picking from niche country tool to versatile rock idiom. Roy Clark (1933–2018) brought hybrid picking to wide television audiences through his versatile performances on Hee Haw (1969–1997), demonstrating its accessibility in live jams that showcased rapid alternations between pick and fingers for comedic yet masterful displays of speed and tone control. As a multi-instrumentalist, Clark adapted the technique across country, bluegrass, and novelty segments, using it to punctuate fiddle tunes and breakdowns with crisp articulation on electric guitars, making complex patterns approachable for aspiring players. His Hee Haw exposure, co-hosted with Buck Owens, popularized hybrid picking's playful side, drawing millions to its rhythmic vitality. These pioneers collectively innovated hybrid picking for electric Telecaster applications, adapting it to amplify twangy highs and clear note separation in amplified settings—Burton's chicken snap for rockabilly bite, Atkins' blends for studio polish, Lee's fusions for genre-crossing leads, and Clark's demos for performative flair—establishing the technique's foundational role in modern country guitar tones.^[34]

Contemporary users

Brent Mason, a renowned Nashville session guitarist born in 1959, has been a pivotal figure in contemporary country music since the 1990s, employing hybrid picking—often referred to as chicken picking—for its slick, articulate phrasing on tracks like Alan Jackson's 1994 hit "Gone Country," where he provided electric guitar parts that blend rhythmic drive with melodic flourishes. His technique, which integrates pick-driven bass lines with finger-plucked higher strings, has defined the polished sound of 1990s and 2000s Nashville recordings, influencing countless session players through its precision and tonal clarity.^[35] In progressive rock and fusion, Guthrie Govan, born in 1977, has elevated hybrid picking since the early 2000s, particularly with his band The Aristocrats, where he incorporates it into complex polyrhythms and blends it seamlessly with tapping for intricate, high-speed passages that push the boundaries of guitar orchestration.^[36] Govan's approach adds textural depth to his compositions, allowing for simultaneous rhythmic and harmonic complexity in live performances and recordings like the band's self-titled debut album in 2011.^[37] Eric Johnson, the Texas blues-rock virtuoso born in 1954, integrated hybrid picking into his signature clean-toned style on his landmark 1990 album Ah Via Musicom, using it to craft melodic lines with exceptional clarity and sustain, as heard in tracks like "Cliffs of Dover," where finger-picked notes enhance the flowing, intervallic phrasing.^[38] This technique contributes to his emotive, violin-like guitar voice, bridging blues roots with fusion elements and inspiring players seeking refined lead tones.^[39] In djent and progressive metal, Tosin Abasi, born in 1988 and frontman of Animals as Leaders, has innovated hybrid picking since the band's 2010 self-titled debut, combining it with thumping—a bass-inspired slap technique—for extended-range grooves on eight-string guitars, enabling polyphonic textures and aggressive rhythms in post-2010 releases like The Joy of Motion (2014).^[40] Abasi's fusion of these methods expands the palette for modern metal, allowing for bass-like low-end propulsion alongside intricate high-register melodies.^[41] These contemporary practitioners, building on early pioneers like James Burton, have broadened hybrid picking's reach beyond traditional country into shred, jazz-fusion, and metal realms, fostering greater visibility through widespread YouTube tutorials that democratize the technique for global audiences.^[40]

Applications

In country music

Hybrid picking plays a central role in country music, particularly through the signature "chicken pickin'" style, which features sharp pick attacks on bass notes combined with finger-plucked syncopated rhythms to produce a lively, twangy sound essential for honky-tonk genres.^[42] This technique, often executed on Fender Telecaster guitars, creates a distinctive "cluck" via aggressive downstrokes and string muting, mimicking the percussive scratch of a chicken, and has become a hallmark of electric country guitar for its rhythmic drive and tonal bite.^[43] In key subgenres, hybrid picking appears in bluegrass hybrids, where it facilitates alternating bass lines in flatpicking bands to add melodic complexity and drive, blending traditional acoustic rhythms with finger dexterity.^[44] In modern country, it underpins intricate solos, as exemplified by Brad Paisley's expressive runs that integrate hybrid picking for fluid, high-speed phrasing over upbeat tracks.^[43] Iconic examples highlight its influence, such as Brent Mason's hybrid fills in Alan Jackson's 1993 hit "Chattahoochee" showcase double-stops and open-string licks, delivering the track's catchy, crowd-pleasing intro and solos that define '90s Nashville sound.^[42] The technique's cultural impact is profound, serving as a standard in Nashville session work among elite studio musicians who rely on it for versatile, professional rhythms and leads across recordings.^[42] It is also a core element taught in country guitar programs to build session-ready skills. Adaptations distinguish acoustic and electric variations, with acoustic hybrid picking on steel-string guitars emphasizing dynamic contrasts through finger-plucked melodies over picked bass for fuller resonance in bluegrass and folk-country settings, while electric versions leverage amplification for sharper attacks and sustained twang in honky-tonk and modern productions. Basic execution patterns, such as the boom-chicka rhythm, often incorporate hybrid elements to alternate bass and chord stabs seamlessly.^[2]

In other genres

Hybrid picking has found significant application in jazz, where it enables precise plucking for chord-melody arrangements and intricate bebop lines, particularly on archtop guitars that benefit from the technique's added warmth and tonal nuance.^[45] Guitarist Pasquale Grasso exemplifies this use, blending hybrid picking with influences from the plectrum school of Chuck Wayne to execute complex, fluid solos that maintain clarity across multiple strings.^[45] This approach allows jazz players to navigate dense harmonic progressions while preserving the instrument's acoustic resonance, distinguishing it from pure fingerstyle by incorporating a pick for rhythmic drive.^[46] In rock and fusion genres, hybrid picking supports polyphonic solos through melodic phrasing and arpeggio sweeps, expanding the technique's rhythmic and textural possibilities beyond its foundational influences.^[47] Eric Johnson's work, such as in "Cliffs of Dover," demonstrates how hybrid picking facilitates intervallic runs and arpeggiated lines, combining pick-driven bass notes with finger-plucked higher strings for seamless, expressive leads.^[48] Similarly, progressive rock guitarist Plini employs it for sweeping arpeggios in intricate compositions, achieving a layered sound that enhances the genre's technical demands.^[47] Progressive metal has adapted hybrid picking into extended techniques, often paired with thumping for percussive effects and combined with downpicking to craft the syncopated, palm-muted rhythms characteristic of djent.^[47] Tosin Abasi of Animals as Leaders integrates it extensively, using hybrid picking alongside selective and sweep elements to produce rapid, polyrhythmic patterns on extended-range guitars, as seen in tracks like "David."^[47] This fusion allows for dense, groove-oriented passages that blur the lines between lead and rhythm playing.^[49] Within blues and folk traditions, hybrid picking enhances slide accompaniment and bolsters fingerstyle elements in acoustic contexts, providing dynamic contrast in both electric and unplugged settings.^[50] Joe Bonamassa applies it in blues shuffles and pentatonic-based runs, such as hammering on while plucking open strings to create fluid, vocal-like phrases over dominant chords.^[50] In folk applications, it supports hybrid slide work by allowing simultaneous bass lines and melodic fills, enriching the genre's narrative-driven instrumentation without relying solely on thumb-picking patterns. Online communities, including Ultimate Guitar, facilitate cross-genre adoption by sharing tabs and exercises that adapt the technique for modern songwriting, from lo-fi acoustics to synth-infused tracks.^[51]

References

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When a guitarist's approach to playing includes flatpicking and fingerpicking simultaneously, it's called hybrid picking.
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This sophisticated, fluid techinque - not for beginners - combines alternate picking with a switch to sweep picking (see below) when changing strings. Players ...
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Hybrid picking, or chicken picking as it is also called, is a mixture of flatpicking and fingerstyle. You may have already noticed while practicing country, ...
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Unlike fingerpicking, hybrid picking lets you quickly revert to strumming or alternate picking or vice versa, which is handy in many playing situations. Gypsy ...
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### Fundamentals of Hybrid Picking Summary
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[45]
Chicken Picking and Hot Country Licks - Fundamental Changes
Hybrid Picking, chicken picking guitar lesson. Fully notated examples with tab and audio. Learn to pick like country players Chet Atkins and Brad Paisley!<|control11|><|separator|>
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Country Hybrid Picking with an Alternating Bass Line
Apr 21, 2017 · We'll get comfortable alternating the bass line with our pick which will get you ready to learn some of the more difficult hybrid picking ...
[47]
Country Guitar Lessons: Free Lessons By Experts [Inc Exercises]
Rating 5.0 (917) Jun 7, 2024 · Use the hybrid picking technique to pluck the G and high E strings simultaneously. ... #5 – "Folsom Prison Blues" by Johnny Cash. Tap to unmute.
[48]
Pasquale Grasso - Vintage Guitar® magazine
It's a hybrid between jazz picking from the modern plectrum school of [George Shearing guitarist] Chuck Wayne and the classical-guitar technique. My technique ...
[49]
Pasquale Grasso - Page 18 - Jazz Guitar Online
Jan 1, 2022 · Is all his “jazz” guitar playing Hybrid Picking? It's hard to tell. But it looks like it is. Some of the best hybrid technique I have seen.The Circular Picking School - Jazz Guitar OnlineHybrid picking - Jazz Guitar OnlineMore results from www.jazzguitar.be
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How hybrid picking can open up a world of progressive possibilities
Sep 2, 2020 · This in-depth lesson will help you get to grips with the versatile technique favored by Plini and Tosin Abasi.
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https://www.ultimate-guitar.com/lessons/guitar_techniques/hybrid_picking_the_best_of_both_worlds.html
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Guitar Lesson: Tosin Abasi on hybrid picking - YouTube
Mar 10, 2015 · The Animals As Leaders shredder shares his eight-string guitar expertise, covering chords, arpeggios, hybrid picking and tapping Buy a copy ...Missing: thumping | Show results with:thumping
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How to play a blues shuffle, by Joe Bonamassa - Guitar World
Aug 16, 2025 · For example, I can hammer-on from A to B on the D string while simultaneously plucking the open B note, using hybrid picking. This is a ...
[54]
Hit the Tone! Indie & Alternative - Thomann Blog
Jan 24, 2020 · To find the right distortion, it is advisable to turn up the volume as much as possible and then test the distortion pedal volume until it is ...
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Hybrid Picking: The Best of Both Worlds | Ultimate Guitar
Nov 21, 2014 · Hybrid picking is the best of both worlds; you can use your pick like you normally would and explore all the comfort and sonic possibilities.Missing: cross- | Show results with:cross-