Flatpick and Strumming Guitar Lesson
Flatpick and Strumming
Orville talks about flatpicks, how to hold them, and how to strum with them.
Taught by Orville Johnson in Beginner Acoustic with Orville seriesLength: 13:29Difficulty: 1.0 of 5
Pick Thickness
There are different types of flatpicks that are best used in different situations. Here is a summary of the effect of thickness on the sound produced by a flatpick:
- A thin pick has more give to it which causes a “slapping” effect. This creates a more percussive sound and is good to use for strumming guitar parts.
- A heavy pick is very thick. It produces a fuller, richer tone and has no give or slapping effect. This is ideal for playing solos and melodies.
Orville suggests you start playing with a medium gauge pick. Experiment with other types and find out what works best for you.
Holding the PickRest the pick on the top of the index finger, just below the first joint. Then hold the pick in place with the tip of the thumb. Make sure about 1/3 of the pointy end of the pick is sticking out from the fingers.
Rest StrokeThis is an important technique in flatpick guitar playing. Start by picking only the bass note of a chord. Stop the pick by “resting” it on the next string. Then on the next beat follow through and strum the rest of the chord. The bass note can be alternated between other notes in the chord as well. Just use the same technique on different strings.
This technique makes it so you do not need to lift the pick in the air after picking the bass note. Rest stroke picking is better because when you raise the pick in the air you need to aim to hit the correct string. This makes it much more likely for there to be error in your playing. Rest stroke picking also helps you keep the tempo of your playing up because it minimizes the amount of movement necessary to strum chords.
Supplemental Learning Material
Beginner Acoustic with Orville
Found in our Beginner Lesson SetsDiscover the essentials with Orville Johnson by learning some of the most popular topics and techniques in beginner guitar.
Lesson 1
Overcoming Beginner Challenges
Orville talks about some challenges you will likely face as a beginner and offers some advice that will help you overcome them.
Length: 13:05 Difficulty: 0.5 Members Only
Flatpick and Strumming
Orville talks about flatpicks, how to hold them, and how to strum with them.
Length: 13:29 Difficulty: 1.0 Members Only
Fingerpicking and Patterns
Orville Johnson introduces some basic fingerpicking patterns.
Length: 6:58 Difficulty: 2.0 Members Only
Metronome and Practicing
Orville Johnson explains why it is important to practice with a metronome. He also covers some practice strategies that will help minimize your frustration.
Length: 21:35 Difficulty: 1.0 Members Only
Practical Theory Part 1: Intervals
Orville dives into part 1 of his beginners' guide to practical theory. In this lesson, you will learn the basics of intervals.
Length: 17:30 Difficulty: 2.0 Members Only
Practical Theory Part 2: Scales
Orville Johnson takes a look at scales in part 2 of his practical theory mini-series.
Length: 18:40 Difficulty: 2.0 Members Only
Practical Theory Part 3: Chords and Construction
Orville Johnson jumps into part 3 of his practical theory mini-series. This lesson is about chords and their construction.
Length: 21:08 Difficulty: 2.0 Members Only
Connecting Chords with Bass Runs
Orville Johnson demonstrates how simple chord progressions can be spruced up with bass runs. The classic song "Oh! Susanna" is used as an example.
Length: 12:04 Difficulty: 1.5 Members Only
Basic Blues Shuffle
Orville Johnson demonstrates a basic blues shuffle. This incredibly easy rhythm piece will have you sounding like a blues great in no time!
Length: 12:38 Difficulty: 1.5 Members Only
Voice Leading
Orville Johnson talks about the concept of voice leading. This concept will help you play chord progressions that flow better and sound more harmonious.
Length: 10:20 Difficulty: 2.0 Members Only
About Orville Johnson
View Full Biography
Orville Johnson was born in 1953 in Edwardsville, Illinois and came up on the St. Louis, Missouri music scene, where he was exposed to and participated in a variety of blues, bluegrass and American roots music. He began singing in his Pentecostal church as a young boy, in rock bands in middle school, then took up the guitar at 17,with early influences from Doc Watson, Rev. Gary Davis, Mississippi John Hurt, and Chuck Berry. In the early 1970's, Orville spent several seasons playing bluegrass on the SS Julia Belle Swain, a period-piece Mississippi river steamboat plying the inland waterways, with his group the Steamboat Ramblers.
Orville moved to Seattle, Washington in 1978, where he was a founding member of the much-loved and well-remembered folk/rock group, the Dynamic Logs. Other musical associates include Laura Love, Ranch Romance, File' Gumbo Zydeco Band, Scott Law, and the Twirling Mickeys. Johnson, known for his dobro and slide guitar stylings and vocal acrobatics, has played on over 100 albums. He has appeared on Garrison Keilor's Prairie Home Companion, Jay Leno's Tonight Show and was featured in the 1997 film Georgia with Mare Winningham. His musical expertise can also be heard on the Microsoft CD-ROMs, Musical Instruments of the World and the Complete Encyclopedia of Baseball. He teaches as well at the International Guitar Seminar, Pt. Townsend Country Blues Week and Puget Sound Guitar Workshop.
Orville released 4 recordings in the 1990's: The World According to Orville (1990) Blueprint for the Blues (1998) Slide & Joy (1999) an all-instrumental dobro tour de force and Kings of Mongrel Folk (1997) with Mark Graham. He also appeared on 4 discs with the File' Gumbo Zydeco Band and produced Whose World Is This (1997) for Jim Page and Inner Life (1999) for Mark Graham. In the 21st century, he has released Freehand, a new Kings of Mongrel Folk disc, Still Goin' Strong, and been featured in the soundtracks of PBS' Frontier House and the Peter Fonda flick The Wooly Boys as well as the compilation cd Legends of the Incredible Lap Steel Guitar.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.as a 67 year old just now starting to learn guitar, i've got to say your style of teaching is perfect for me. It took a little while to figure out the bass runs but now i love them. how about putting together a beginning song that we can use them in?? thanks Dave
Hi, Orville, I have watched your lesson along with several other instructors over the past year. I am now on your flatpicks and strumming lesson again. I plan tostay with you for a long time now. I'm 73 and your method is great and great for me. Thanks.
Hi Orville ... keep coming back to your lessons. One thing that has helped me, was your suggestion on playing with the guitar on my left knee. I found that it has helped when learning bar cord and coming up the neck. I have longer arms and when positioned on my right knee, I have to really cock my wrist around and it makes things diffecult. Thaniks, Bob
Only two months of experience behind me. Have been bouncing from Justinguitar.com, nextlevelguitar.com, and youtube. I am on a 7 day trial here and this is the type of instruction I am looking for. Well done and I think I am going to subscribe. Thank you.
Hi Orville, I like your slow and deleberate instruction, I am the new Kid on the block, I will checking in again. Thanks.
Orville great lesson. But I believe the Bass Run lesson exercise (2) has a few mistakes, it should be F# and D, not F and D#.
Orville that was a fantastic lesson. You slow things down at the appropriate time and, your voice is very calming for me. Thanks!
This is the best lesson I've found so far in all of JamPlay. I feel like a real guitar player doing those bass runs. You explain things so well. I plan on viewing and practicing all of your lessons. Theresa
Hola Orville. Just the lesson I needed to understand bass note runs. Can't wait to practice, practice. I'll be back for more after I master this lesson. Ciao.
Hi Orville, great lesson. Slight typo in the exercises; for the run up to the D, it shows 2 & 4 on the 5th string, when actually you play 2 & 3. No worries though, you explain it correctly. Looking forward to more lessons!